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View from the plane, the snake shape was foreshadowing of the snakes i would see in the jungle, where i stayed for a week.
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Flares happen, but I liked this one -- which, unbeknownst to me at the time, foreshadowed Flickr's logo by a few years.
New access roads foreshadow progress and growth in the Greenville area. I thought the construction was a fitting view one sees when entering Mississippi. www.pennysanford.typepad.com
Civic Center, Manhattan
The Temple Court Building and Annex consists of two connected structures on the designated Landmark Site. The nine-story (ten stories in certain portions) Temple Court Building was commissioned by Eugene Kelly, an IrishAmerican multi-millionaire-merchant-banker, and built in 1881-83 to the design of architects Silliman & Farnswonh. Executed in red Philadelphia brick, tan Dorchester stone, and terra cotta above a two-story granite base, the handsome vertically-expressed design employs Queen Anne, neo-Grec, and Renaissance Revival motifs.
Today, Temple Court is the earliest surviving, essentially unaltered, tall "fIreproof' New York office building of the period prior to the full development of the skyscraper. Funhermore, it is an early example of the use of brick and terra cotta for the exterior cladding of tall office buildings in the 1870s and 80s, as well as a rare surviving office building of its era constructed around a fullheight interior skylighted atrium. Its two towers foreshadow the pyramidal form that later became popular for skyscrapers.
The Annex to the building, clad in Irish limestone on its principal, Nassau Street facade, was constructed for Kelly in 1889-90 to the design of James Farnswonh, in an arcaded Romanesque Revival style that complements the original building. Temple Court's signifIcance is enhanced by its visibility as it rises above the low buildings of Park Row facing City Hall Park, its prominent towers, and its articulated facades on three sides.
The nine-story (ten stories in certain portions) building has facades on Beekman Street. Nassau Street. and Theatre Alley. Of fireproofed construction with iron floor bearns, it was built around an interior skylighted atrium (now enclosed), with an additional exterior light well on the south side. It is clad in granite on the two-story base, and red Philadelphia brick (originally laid with red mortar), tan Dorchester stone trim. and terra-cotta panels on the upper stories. Much of the building, other than parts of the Theatre Alley facade, has been painted. Articulation on the facades on Beekman and Nassau Streets. as well as part of that on Theatre Alley, is similar, employing Queen Anne, neo-Grec. and Renaissance Revival motifi; and ornamental details.
The design is arranged horizontally into a base, midsectiou, and upper section (with mansard roof and towers). and in addition. it has a tripartite arrangement with end pavilions on each facade. The building is vertically expressed with continuous piers. Windows originally had one-{)verone double-hung wood sash (some were double windows with a central mullion); most have been replaced by anodized aluminum windows with a variety of configurations. Base The two-story base is clad in granite. that on the piers rockfaced. Each story is capped by a cornice. Second-story windows in the center of the facades on Beekman and Nassau Streets are segmentally arched. All of the ground-story bays of the facades on Beekman and Nassau Streets (except the main entrance) have been converted to shopfronts over the years, and have been altered so that little historic fabric survives. Shopfronts are currently framed in metal, with rolldown gates.
Base: Beekman StreEt The main entrance, located in the central bay, originally had polished red granite colunms supporting an entablature bearing the name of the building, capped by an iron balustrade flanked by pinnacles; in 1949-50 the main entrance was altered with a polished marble surround, metal and glass doors, a transom, and the letters " Beekman." The bays flanking the entrance were originally windows; surviving below the cornice in each bay are a paneled band and decorative metal band. The end pavilions were originally tripartite, having a central door flanked by colunms and windows with bulkheads and transoms; they were later altered to single bays with a bulkhead, display window. door, and broad sign band (since altered).
The easternmost storefront is still framed by original fluted stone pilasters with stylized floral capitals. Base: Nassau Street End pavilion bays were originally tripartite, divided by piers. These bays. as well as those of the central section. had paired windows with bulkheads and transoms (the south end undoubtedly had an entrance door to the elevator hall); these bays were later altered in a manner similar to the pavilion bays of the Beekman Street facade (since altered). Surviving below the cornice in the south pavilion bay are a paneled band and decorative metal band.
Base: Theatre Alley The northern section has articulation similar to that on Beekman Street. The ground and second stories of the center and southern sections are capped by stone bandcourses. The ground-story bays of these sections are divided by cast -iron piers and have transoms and ornamental iron bulkhead bands. All bays have been filled with cinderblock. The second-story bays of the center and southern sections are divided by cast-iron piers. Midsection The brick midsection consists of the third through the sixth stories. Articulation on the principal facades (and north pavilion of Theatre Alley) is similar, with terra-cotta spandrel panels above the third, fourth. and fifth stories; bandcourses, and stone capitals with a stylized floral design on the piers. on the thittl. fourth. and fifth stories; windows capped by round arches (with decorative tympana) in the center sections of the fifth story; and a stone cornice capping the sixth story.
Most of the Theatre Alley facade is unadorned "Croton-faced" brick. with simple bluestone lintels and sills.
Upper Section The upper section consists of the seveoth through the tenth stories. The north section of the Theatre Alley facade has articulation similar to that on Beekman and Nassau Streets. The center portion of the two principal facades has paired windows with entablatures on the seventh story (the Theatre Alley facade is capped by a corbelled cornice on the seventh story). surmounted by. on each of the three facades. a two-story slate mansard roof with pedimented dormers (the upper dormers on Nassau Street. all dormers on Theatre Alley, and the flanking dormers on Beekman Street, are iron). The sections of roof on Beekman and Nassau Streets appear covered with asphalt.
The end pavilions have bandcourses and terra-cotta spandrel panels above the seventh and eighth stories; round-arched windows, a subcornice, and cornice on the ninth story; a central pedimented window, and cornice with flared corner projections, on the tenth story of the northern pavilions; and a pediment on the tenth story of the southern pavilions (with a rondel on Nassau Street and corbelling on Theatre Alley). Roof Surviving decorative iron railings cap the mansard roof of the center section of each facade. Two prominent corner towers above the Beekman Street pavilions have octagonal pinnacled roofs, covered with slate and capped by metal finials. The corners of the pavilions are ornamented with pinnacles, and the inner side of each pavilion (except Theatre Alley) is flanked by a chimney. The southern pavilions have gable roofs. The center portion of the building is covered by a large pyramidal skylight with a monitor.
TEMPLE COURT ANNEX (119-121 Nassau Street)
The ten-story annex is adjacent to the original building on its south side, extending from Nassau Street to Theatre Alley. Framed with iron, it is Cshaped in plan, with an exterior light well that joins that of the original building. Windows originally had one-{)ver-{)ne double-hung wood sash (some were double windows with a central mullion); most have been replaced by anodized aluminum windows. The Annex has a flat roof, which holds a water tower and four sheds on the south side.
Nassau Street
The principal facade in the Romanesque Revival style, clad in Irish limestone, is organized into horizontal sections by cornices capping the second, sixth, and ninth stories. The entrance, originally located in the southern ground-story bay, had a round arch with a surround with columns supporting a pointed-arCh; the entrance was convened into a storefront in 1959. All three ground-story bays have been altered a number of times and no historic fabric is visible; most of the ground story is covered with a metal veneer. The southern bay of each upper story (except for the top rwo) has a rectangular window.
The northern two bays of the facade are arranged as superimposed arcades of paired arches (the second story; the third through sixth stories; and seventh through ninth stories). The arches have Romanesque style stone carving and decorative metal spandrel panels and mullions. The southern hay of the ninth story and the entire tenth story have roundarched windows. The facade is terminated on the south end by a pediment with a rondel. In the fire of 1893, "great pieces spalled off"w the stone sills of the top four stories, but these were repaired. Theatre Alley The plain brick facade has rectangular windows with simple stone lintels and sills. The ground story has a round-arched secondary entranceway in the southern bay and two rectangular bays capped by an iron beam; these former openings are now filled with cinderblock.
- From the 1998 NYCLPC Landmark Designation Report
Signs such as these foreshadowed what was to come ahead... Just what sort of ugly thing will we have to see? D:
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This Kid grew up to be a stock broker. He owns and flies his own plane. I'll have to fix this with PShop or something.
It's a well known cinematic device to use oranges as foreshadowing to death. I don't know why this is or where it stems from, but anyone who's watched any of the Godfather movies knows this to be true. (If you doubt it, fastforward to the drive-by shooting scene... and watch the rest of the movie.)
Anyone know why this is?
A haze of high altitude cirrostratus clouds foreshadow dark times ahead. Bad weather is coming, but there's still sunlight to be seen. You can see it right there.
1969 Jaguar E-Type Roadster
Chassis No.1R7050
Engine No. 7R1164-9
The evolution of the sublimely beautiful Jaguar E-Type was dictated by experience and the changes of a worldwide market. The first seven years of gradual change and improvement culminated in 1968 with the introduction of the Series II, a substantial redesign that also foreshadowed many of the attributes of the Series III V12 that entered production in 1971.
The iconic 4.2-liter six cylinder engine was little changed although a 25 percent higher capacity water pump was fitted to take advantage of the larger radiator air intake, better adapting the car to hotter climates. The chassis received bigger Girling brakes and reclining seats were now standard.
The Series II E-Type proved appealing to a wider market than the Series I cars because it solidified the grand touring elements of the E-Type by making it a much more comfortable and reliable car to drive.
1R7050: The numbers-matching example presented here is finished in opalescent silver with black hood and matching black leather interior hides. The comprehensive restoration on the E-Type was performed over the last 10 years with the aim of making it an outstanding driver in well presented quality cosmetic condition.
During the restoration process the entire engine was rebuilt, with all major and minor systems were serviced, rebuilt or replaced, including the brake, fuel, exhaust and electrical systems. The body was striped to bare metal, fitted as needed, primed, sealed, painted, base coat clear coat, color sanded and buffed. All brightwork was treated and re-plated. The cabin was fitted with new carpets, panels, seats and dash padding. The convertible top bows were revived and a new soft top was fitted. Accordingly, new wire wheels were also fitted with fresh tires.
Restoration servicing receipts are included in the sale, along with tools with roll, jack with case, Thor knock-off hammer, and Jaguar Heritage Trust Certificate of Authentication.
Excellent Presentation!
A Strong and Reliable Driver!
5-Speed Transmission & Wire Wheels!
Accompanied by Tools, Jack & Hammer!
I'm not going to lie: I'm worried for his future. For a while, right after Clawd's profile was posted, Holt's was down. It's back now, but is it a foreshadowing of some sort?
I think they might have written themselves into a corner with these guys because he's a very complex character & in the long run things will get complicated for him in some way and if he were in a work for an older audience they would really be able to give him the room he needs to breathe & grow.
The real question though is why haven't we seen Jackson yet? From Laura's diary, we know he goes to MH and was originally slated as a love interest for her but with them going that way with Clawd, they've eliminated his entrance opportunity. Plus, they have another fire character, Heath Burns, who's name has been copyrighted and will likely get a doll.
Without a diary from Jackson's perspective he's kind've crippled in his development and with no way to integrate him into the group anymore, how can he be developed? (And I really want him to be!)
In any case, I'm glad to have both versions of his mold. His doll has what I like to call 'the Rio effect' where he's hot in illustrated form but not so much in doll form (that head shape is. . . . . weird). Jacksons either look ok to cute or really bad, while Holts tend to be cute almost all of the time, hence why he got the edge.
A simple design step. A truly sweet source of comfort, this linen cloth with a lace cutwork edge. She attached it to her shelf years ago. One can only imagine what sat on top of the shelf. Perhaps her favorite Lefton figurines given to her by her daughter each birthday. Or maybe during the summer seasons, she placed a white milk glass vase filled to the brim with newly cut Zinnias from her garden out back.
Those items are long gone, but the linen still remains, hanging by a thread.
Just like this home is. . . hanging by a thread.
I wonder if she had any idea when she put the linen on the shelf that it would end up looking like this?
I doubt it.
We never like to look that far into the future, do we?
- - -
Kansas
finished in a binge ... final episode disappointing ... ending foreshadowed too obviously ... pedophile angle not really fleshed out, not believable ... got squeamish when it came to real issues of sexual abuse, copped out, so to speak
Counting down the days until summer!
A photo taken for a 1984 (the book by George Orwell) English project.
Reflection created due to glass.
These young people foreshadowed the great youth movement of the Cultural Revolution (1966 -1976).
* * *
Ces jeunes préfigurent le grand mouvement de jeunesse de la Révolution Culturelle (1966 -1976).
timing and spacing: Timing is achieved in animation by using varying numbers of frames between the key poses and is used in an animation to get a sense of pacing to both movement and/or the animation as a whole or help to exemplify a characters emotions through the speed of their actions. Spacing is the amount of space between these frames giving a different type of movement to an object in the spread of frames, this can be used to add a sort of “ease in – ease out” effect to a particular movement as opposed to the point a-b effect that could be accomplished if the same frames were spaced out differently. Combined these two methods can give an animated element a sense a sense of realism and personality, giving it mass and/or urgency of movement as well as differentiating between the more artificial forms of motion and more natural acceleration.
anticipation: Anticipation is the practice of giving an animated object a subtle movement or shifts in stance that will foreshadow what is going to happen in a short time space to the audience, for example bending the knees before making a huge leap. Anticipation helps to make actions appear more realistic as a human doesn't often move from pose to pose, instead often readying and preparing their body first in order to get the most beneficial result from their action or simply because it is necessary to get a result at all.
straight ahead/ pose to pose:Straight ahead and pose to pose are two different methods of animation, pose to pose is the practice of creating the key poses of an animation and either drawing the in-between frames in later or in digital animation, allowing the software to calculate the necessary motion and implementing it itself (tweening) this style of animation is generally used in Maya. Straight ahead animation is the style stereotypically used in cell animation and is the practice of creating an animation frame by frame purely going forwards, while this method often supplies more control over an animation it is often much more time consuming.
arcs: Arcs are the most natural form of movement and as a result limbs and thrown objects commonly move in arcs and parabolic trajectories, speed and momentum often affect the course of arcs with slower moving objects having greater curvatures and faster moving objects moving over more straightforward trajectories. When an object deviates from its animation curve it appears unpredictable and inconsistent, therefore it is important – especially during pose to pose animation - that the motion remains fluid.
following through and overlapping action: Following through and overlapping action are a pair of elements in animation that help to add a sense of realism. Follow through actions are a bi-product of motion and apply to a characters more malleable and flowing ornamentation/accessories such as clothing and hair for instance if a character wearing a shirt with baggy sleeves moves his arm from one point to another his sleeve will continue to move for a short while after until its own momentum is spent. Overlapping action is a series of smaller actions that add up to a single flow of movement, for example when someone crosses their arms they generally start by bending their elbows to around 90 degrees (with the dominant hand moving first), followed by moving their shoulders and finally moving their arms in opposing arcs and interlacing their arms.
staging: Staging is the practice of putting a pose in the optimal position to view and extrapolate information from quickly and easily, it brings focus to any important elements and is accomplished through camera placement, the use of strategic lighting and or the placement of characters and objects in a frame. This principle is very important when considering what and how needs to be conveyed to the audience.
slow ins and outs: Slow ins and outs is essentially extrapolating and replicating acceleration and deceleration of motion to create more realistic animations and make them more authentic in the way they move. This technique also relates to spacing as it can be accomplished through strategic frame placement and spacing.
secondary action: Secondary actions are subtle background character animations that help to bring a character to life and support the primary animation without pulling focus from the primary action and distracting the audience. An example maybe something simple such as a moving chest as a character breathes after running for a long distance and they start to feel tired. Secondary action’s focus is to emphasize an action not just add lots of stuff and convolute the animation.
exaggeration: Exaggeration is typically more noticeable in cartoonish animations, and is generally used to make an animation more interesting and likeable. Exaggeration is the act of overly emphasizing and pushing the form and shape of an action, even though it will remain faithful to the original form and pose. While exaggeration is used in more realistic animation it is generally more subtle to make certain movements more noticeable to the audience. When pushed to its extreme on the other hand it is generally used more often for comedic effect. Either way exaggeration generally makes an action or movement more dramatic than its real life counter-part.
Squash and Stretch: Squash and stretch is a central principal to the point of being vital. Squash and stretch is the act of giving an object the appearance and sense of elasticity to help convey the mass and density and can be used on thrown objects to enhance the appearance of motion blur or to replicate the use and movement of muscles in a body. In unrealistic animation this technique can be used for comedic effect, however it can be utilized in realistic animation too, the primary difference between the two applications being that in exaggerated instances the squash and stretch ratio compared to the original size of the object doesn’t need to be related, in realistic animation on the other hand everything must stay in proportion otherwise the illusion will of reality will be punctured.
solid drawing: Solid drawing is the principle of taking three dimensional form into account when creating a character that has volume, weight and is anatomically accurate, this applies to both 2D and 3D animated projects. This principle helps to produce well balanced characters that produce a good lighting balance between lit and shaded when illuminated and more unobjectionable for the viewers.
appeal: Appeal is the animated character equivalent of charisma in real people and actors, the characters allegiance and morals don’t matter, whether the character is sympathetic or not doesn’t matter, it’s all about whether or not the character is compelling and interesting for the audience and whether they are an enjoyable character to watch for the type of role they fill/embody. This principle is generally accomplished via the use of character design such as the use of symmetry and asymmetry, and the poses the characters use.
With the first few spots of rain falling and foreshadowing the monumental storm to come, SŽ 664110 rests at Bohinjska Bistrica prior to departure with AVT861 to Nova Gorica.
Quite a tricky handheld shot this, as the night is well and truly setting in and the main lights haven't yet been turned on. Luckily the lights under the station canopy cast a nice glow over the side of the Loco.
Depsite having ample wagons for cars, the 3 of us UK Cranks travelling in the coach made up the total of the passengers. With 3 staff on the footplate and a guard in the coach we were well and truly outnumbered!
Ruben & Nabilas contemporary South Asian Sangeet was so rich in color and detail that it foreshadows an equally phenomenal reception.
Foreshadowing for my trip? I hope so. The photo here is Neptune having his way with a nymphet of the sea. Behind the statue is a man-made waterfall flowing into the pond. At the top of Kreuzberg Hill one can see all over the city, making this a very popular place to be during New Years Eve celebrations.