#Crack detection pigment

[aronuniversal123]

https://aronuniversal.com/crack-detection-pigment/

Crack Detection Pigment for Enhanced Visibility and Accuracy

Enter the next generation of non-destructive testing. Our crack detection pigment is tailored for maximum luminance and clarity, ensuring reliable results every time

[leeknowsnot]

CHAPTER 28 — "Maybe for Myself. Maybe for Him, too"

Saturdays were normally reserved for Lina’s two favorite hobbies: sleeping in until brunch was technically dinner, and hiding in oversized hoodies like a street-corner cryptid.

But not today.

Today, she found herself standing in the middle of a cosmetics aisle, surrounded by what felt like thousands of tiny square compacts, squeaky clean tester bottles, and shelves whispering spend money you don’t have. She squinted suspiciously at a product with the name “dewy blur”.

“…Blur what, exactly?” she asked, holding it up like it might detonate.

Soojin leaned over her shoulder, peered at the label, and snorted. “Your sins. It blurs your sins.”

“It blurs your pores, dummy,” Yunjin corrected, grabbing the bottle and putting it back neatly. “And your skin’s already nice. You just need a little help waking it up.”

“Waking it up?” Lina repeated. “It’s skin, not a college freshman.”

Hana ignored all of them and dragged her closer to the concealer rack. “Okay, hold still,” she said, squinting at Lina’s face like a fashion detective. “Hmm… neutral undertone… probably shade 23 or 25…”

“This feels like a medical consultation,” Lina muttered, though she didn’t protest when Hana gently dabbed a sample concealer on her jaw with a cotton swab.

Yunjin tilted her head critically. “That’s the one. Blends in pretty well.”

“It’s like we’re doing a science experiment,” Lina said, blinking at her reflection in the compact mirror. “But instead of curing diseases, we’re—”

“—fixing your under-eyes so you don’t look like you watched horror movies at 3AM again,” Hana finished with a smirk. “You’re welcome.”

They moved on to blush.

“This one makes you look like a peach fairy,” Soojin said dreamily, holding up a soft coral shade.

“This one makes you look like you got slapped by a sunset,” Yunjin added, holding a more pigmented pink.

“…What does this one do?” Lina asked, pointing to a neon orange one.

“Send you straight to clown school,” Hana deadpanned, swatting it away.

They eventually settled on a rose-toned blush that Yunjin swore made Lina look like she had “innocent thoughts, but could win a slap fight.”

Then came the moment of betrayal.

“What’s this?” Soojin asked, reaching into Lina’s tote bag and pulling out a tiny, battered tube of lip balm. The cap was half cracked and the logo had been rubbed off completely.

“Oh, that?” Lina’s eyes lit up fondly. “That’s my baby. Been with me since the start of high school.”

There was a moment of horrified silence.

“Since…?” Hana’s eye twitched.

Yunjin leaned in. “Wait. Since you were thirteen?”

“It still works!” Lina defended.

“That thing is older than my cousin!” Soojin cried.

“It’s basically a biohazard!” Yunjin shouted, snatching it and tossing it into the nearby trash bin like it was toxic waste.

“NOOOOO—!” Lina let out a dramatic gasp, throwing herself toward the bin with outstretched arms. “YOU MONSTERS!”

“It wasn’t a best friend,” Hana said, completely unfazed, inspecting a lip tint. “It was barely a friend. It didn’t even make your lips look fuller, and it was probably expired twice over.”

Lina clutched her chest. “You heartless wench. He’s in balm heaven now.”

“Let’s get her something she deserves,” Soojin said.

“Lip gloss that doesn’t smell like rubber soles,” Yunjin added cheerfully.

They picked out a sheer pink gloss that had actual shimmer flecks in it and left Lina blinking at her reflection again.

“…Why does my mouth look edible now?”

“Exactly,” Hana said, smug.

⸻

The next battlefield: the clothing store.

Lina’s feet dragged automatically toward the corner rack of discounted oversized hoodies, her fingers already brushing one labeled “MEN’S LARGE”.

Then she was grabbed by the collar and physically steered away.

“Nope,” Soojin said.

“Hoodies are banned today,” Yunjin chimed.

“Illegal,” Hana added.

“They’re so comfy though!”

“They’re also not an entire personality trait,” Hana said, dragging her toward the women’s section. “We’re building a new you, remember?”

Lina groaned but allowed herself to be pulled. She stood awkwardly as the other three ran around like energetic squirrels, throwing options at her: flowy blouses, pastel skirts, linen pants, a wrap dress, something with ruffles that she eyed like it might bite.

“No more neutral-only palette,” Yunjin announced. “We’re putting color in you.”

“I am color. I have emotional range. It’s just all under black.”

They ignored her.

Hana shoved a pale yellow dress into her arms. “Try this. It’ll make you look like you have joy in your life.”

In the end, Lina came out of the dressing room with a surprising find: a cream blouse with delicate lace sleeves, tucked into soft mauve slacks that hugged her hips without suffocating her. Her hair was loosely tied with a velvet ribbon they’d thrown in just for fun.

“…Whoa,” Yunjin said.

Soojin let out a low whistle. “Who are you and where’s Hoodie Goblin?”

“Wait, you actually have a waist?” Hana squinted. “Lina. Have you been hiding a body this whole time?”

Lina stared at her reflection, stunned. She didn’t look like a stranger — she looked like someone she could be. Someone she wanted to be.

Maybe for herself. Maybe for someone else, too.

She touched the lip gloss on her bottom lip and smiled.

⸻

They took a break at a quiet café tucked on the second floor of the shopping center. It had string lights hanging from the ceiling and mismatched mugs that made it feel like someone’s cozy living room.

They gathered around a corner booth, drinks and pastries on the table — iced matcha for Yunjin, a caramel latte for Soojin, strawberry ade for Hana, and Lina with a milk tea so sweet it could probably put someone in a coma.

“No wonder your taste in boys is like this,” Hana said, pointing at her drink.

“I don’t even have a boy,” Lina defended.

“Oh, sure,” Soojin said with a wink. “Not like you’ve been checking your phone every twenty minutes hoping for a Seungmin message.”

“I’m just…keeping an eye on the time,” Lina muttered, stirring her drink too fast.

“Girl, you put blush on for the first time today. We know,” Yunjin teased.

Lina covered her face with both hands and let out a groan. “I hate all of you.”

“You love us,” Soojin said smugly.

She didn’t deny it.

They moved on to other topics — gossip about a certain junior who confessed with a love poem that sounded like a ransom note, wild rumors about a teacher dating a swim coach, and eventually, webtoons.

“I haven’t read much lately,” Lina admitted, munching on her pastry. “What’s good?”

“Seasons of Moonlight is trending again,” Hana said. “The art’s so pretty.”

“I like Devil Roommate,” Yunjin said. “It’s dumb but it’s hot.”

“Dumb but hot is a genre?” Lina asked, amused.

“Of course,” Soojin said. “It’s also how I describe most of my exes.”

They all burst out laughing.

They spent another hour wandering around stores before ending up at a small booth selling handmade keychains. There were little animals, food items with faces, even stars with glitter resin. They picked matching designs — four miniature peaches with tiny grins, each holding a different item: a book, a lipstick, a cup of coffee, and a dumbbell.

“Look!” Yunjin squealed, tying hers onto her phone strap. “We’re fruit-coded besties!”

Lina tied hers on too, something warm and unspoken blooming quietly in her chest.

⸻

She had always been part of the group.

They had always welcomed her, even when she wore hoodies year-round and didn’t care about boys or makeup or the latest webtoons. They never made her feel like an outsider.

But today — today, for the first time, she felt like she was really in.

She giggled when they giggled. She looked at lip glosses without judgment. She teased and asked questions and felt heard.

She looked at the girls beside her and smiled.

'I want to be better,' she thought. 'Prettier, even. I want to try harder…'

She looked down at her phone, her peach keychain swaying gently against her fingers.

'Maybe for myself.'

'And maybe for him, too.'

[hivemindomega]

'I'm not going to do down THIS rabbit hole' Says I, a fool little notes from an unknown journalist. Mostly an excuse to render some pikmin with my personal headcanons. i love textures.

(captions under readmore because I know this text isn't very readable)

2nd Img: Red Pikmin are the most common Pikmin species in PNF-404, and likely an explorer's first encounter. They are identified by their signature, nose-like facial thorn. Red Pikmin display heightened aggression in comparison to other colors. They use their 'nose' to pierce the hide of their foes, who quickly succumb to the painful assault. Despite this, they are very friendly to spacefarers. Fire is a common defense mechanism, and so it is thought Red Pikmin developed their immunity to prey on the likes of the Fiery Blowhog, and clear up territory by 'borrowing' their fire. 3rd Img: Yellow Pikmin are a common species of surface dwelling Pikmin characterized by their large ear-like appendages. Their light weight and love of high perches hint towards semi-arboreal preferences, although this is mere conjecture.

These Pikmin resist and are attracted by electricity, a trait possibly developed due to their habitat being more susceptible to storms.

They are also known for their hoarding behavior, being avid resource diggers and lovers of shiny objects.

Yellows are the first confirmed case of tool use (bombrocks) among Pikmin. 4rth Img: Blue Pikmin are semi-aquatic and the third most common Pikmin on the surface.

Blue Pikmin appear to have a permanently open, downturned mouth. However, while often used for emoting, this 'mouth' is in fact a gill. It facilitates gas exchange, enabling the Pikmin to operate underwater without suffocating. Like all other Pikmin, a Blue's disgestive system is only suitable for consuming liquids, such as nectar.

Blue Pikmin usually prefer to walk along a body of water's bottom. However, they're capable of incredible bursts of speed by using their powerful stems as a caudal fin, vibrating their leaves through the water. 5th Img: White and Purple Pikmin are rare, cave-dwelling species.

Whites are matched with Winged Pikmin as the smallest species, and the fastest. Their only pigment is the chlorophyll of their leaves and are otherwise albino. A White's main method of defense is their speed, and their poison, lethal enough to kill an adult Bulborb. Their oversized eyes are adapted to the dark. They have a remarkably foul temperament.

Purple Pikmin are incredibly dense. Weighing ten times their size, they have an extremely heavy core, making them powerhouses and also very, very hefty. Their hairlike trichomes are used as whiskers, navigating tunnels and detecting threats by feeling air movement.

Both species often cohabitate, and are known to attach themselves to surface colonies. 6th Img: Winged Pikmin, alo called Pink Pikmin, are a close relative of White Pikmin. However, their small size and large eyes are about where their similarities end. Wings are, notably, naturally ocurring transgenic organisms. By repeatedly preying on flying insects, their host Onion appears to have recombined their DNA into a functional flighted form. The implications of this and the medical applications of Onions are yet unresearched.

Rock Pikmin are part of a classification dubbed 'Hermikmin'. Though coloquially referred to as parasitic, their choice of host (inert stones, usually graphite) make this claim incorrect. Rocks root inside their chosen stone permanently. This makes them very durable, and unappetizing to predators. However, this makes them clumsy and their internal structures are distorted. Rock Pikmin with cracked shells will die quickly without the internal pressure. 7th Img: Ice Pikmin are another subspecies of Hermikmin which have evolved for rooting inside slabs of ice. Even less appetizing than their rocky cousins, Ice Pikmin maintain body temperatures low enough to give would-be predators hypothermia and a bad case of brainfreeze. Their bodies are full of anti-freeze. They are very rare, requiring temperate to sub-zero habitats to maintain homeostasis, and are very vulnerable to fire or heat.

Glow Pikmin are an exclusively nocturnal species. Rather than being seeded from Onions, Glows spawn from a subterranean 'Lumiknoll' that emerges at sundown. They possess many abilities that are hardly explainable by science and are rumored to be unable to die. Glow Pikmin might not be Pikmin at all.

[carpetandleather]

Deep Leather Cleaning in North Brisbane – Safe for All Leather Types

The leather furniture and accessories add touch of sophisticated, luxury and class to those places. But with time leather may also lose its appeal this has been caused by dust and stains that accumulate on the leather as well as normal wear. When your leather couch or car seats, which used to look very good, begin to appear dry, this is the best time to think of deep leather cleaning in North Brisbane.

The essence of professional leather cleaning in North Brisbane is the process that does not only help to regain beauty of your leather, but also prolong its life. Deep leather cleaning does not only imply wiping down the surfaces; it implies using safe quality and effective methods of cleaning and products of various kinds depending on the type of leather being cleaned to avoid harmful procedures.

The importance Deep Leather Cleaning.

Leather is natural material which should be taken care of specially. Leather as compared to fabric can dry up, crack, and fade upon improper treatment. The conventional cleaning techniques might be too aggressive and would become unreversible when utilized in a wrong way.

There are some popular problems that deep leather cleaning can combat:

Worn out dust and mud

Spilleges, animal marks, or oil spots

Faded / spots

Dry cracking spots

Using a professional leather cleaning service will get these problems fixed with some easy and effective results and help your furniture or the inside of your vehicle to have a good used like new look.

Suitable on All Kinds of Leather

The next lesson in effective luxurious treatment of leather should be what exactly kind of leather is in front of you. Aniline, semi-aniline, pigmented and bonded leather present their own method of use and care.

The professional cleaners of the Leather Cleaning in North Brisbane  are trained to deal with all kind of leathers. They also employ cleaners, conditioners and protectants, which are pH-balanced and feed the leather and remove stains and dirt safely. Such a special treatment will make sure that your leather is supple and soft and has life long enough without the danger of fading and wearing out the surface.

The Advantages of Rochelle-based Professionals

Deciding to use the services of a local leather cleaner in North Brisbane is liable to the following advantages:

1. Quick Response- Scheduling

The North Brisbane professionals are aware of the importance of your time. Most of them provide next day or same-day appointments as convenient to your schedule.

2. Tailored Services

Whether you need it in your residential home and office or in your car and commercial lounge, local professionals will adjust their techniques to fit your needs and leather products.

3. Environmental Friendly and Non Toxic products

Most North Brisbane services focus on environmentally-friendly products so that your home is never chlorine-free but also free of chemical elements suitable and safe to children and pets.

4. Cost-Effective Solutions

Deep cleaning on a regular basis will help save a lot of money in the long term by preventing a replacement of leather or upholstering of the leather.

Expectations when having Leather Cleaning Appointment

A Standard North Brisbane leather cleaning procedure involves:

Inspection: Leather detective work: Determining the kind and condition of the leather In the case of open-goods inspection, care is taken of the leather type and its condition.

Dust and Debris Clean up: The sweeping and cleaning off of dust.

Deep Cleaning: We utilize cleaning solutions to take out deeply-rooted dirt.

Conditioning: The replacement of dampness and smoothness to hamper splitting

Protection: The coating of a finish that serves to protect against future stains and wear

Why should national cleaners be used to clean leather in North Brisbane?

Our experienced technicians in leather cleaning deal with residential and commercial customers of North Brisbane. Your recliner, auto upholstery and office furniture can all have that plush appearance again; and we do it with safe, ascertainable methods. We also pride ourselves in the fact that we employ environmentally-safe products and give 100 per cent satisfaction.

The appearance of your interiors should not be comprised by dirty or dull leather. You can call us now to get professional cleaning of leather in North Brisbane and give your leatherages a new shine!

[xerxestexastoast]

Okay, so. This post has been driving me nuts these past couple days, because I have never experienced what OP has experienced in eight years of using Clip Studio Paint on MacOS, without ever changing it from the default settings. My projects and exports have always looked identical.

Perceptual color conversion is only supposed to be relevant when you send the image to a printer. The range of colors that light (and therefore screens) can produce is wider than that of dyes and pigments. As a result, some highly-saturated colors are guaranteed to wash out when you put them to paper, unless you have very high-grade inks in multiple extra colors in a nice printer. It's why Pantone exists too; it's a menu of custom-blended inks, already previewed in physical reality for your convenience.

I have always had my rendering intent set to Perceptual and my expression color in the export window set to "Auto detect appropriate color depth", and my exports come out perfect. So why is our OP, Randy, having problems, but I'm not?

Tonight, I saw this spread around in a panic amongst my specific friend circles, and the level of urgency just didn't add up for me. After all, this clearly isn't a universal problem. I've never noticed any alterations in color in my works, and dropping them right back into Clip

So I cracked open a commission I had finished from before I switched to the Saturation rendering intent. Here's what I found.

Randy doesn't specify exactly how they exported, but the edit at the end of the post implies that they've been using "Save as" instead of "Export (single layer)". I personally always use "Export (single layer)" to turn my .clips into .pngs, so I've already been using a change that allegedly fixes the issue. But that doesn't explain why my images come out in perfect RGB even when I use "Auto-detect color depth" instead of the "RGB" setting.

I tested both the Save As method and the Export Single Layer method and dropped them back into Clip Studio, as well as testing the export I sent to the client against the original project file. All colors were numerically identical to the project file regardless of export method.

Then I remembered something Randy said, as a clever demonstration of their problem:

"Just to make a point, every time I finished a panel of this I would export it as a PNG on the perceptual setting and use it as a color reference for the next panel"

Hm.

So I tried out different methods of colorpicking.

The numbers displayed in this image represent Hue, Lightness, and Saturation. HLS is my preferred set of numbers to use when selecting and tuning colors for my projects, but in my experience RGB, HSV, and hexadecimal are equally precise, with RGB and hexadecimal being programmatically identical.

Original: the project file with the correct colors. This is our control group.

Reimported PNG: The originally-exported PNG sent to the commission client was reopened Clip Studio Paint. Selected with the default eyedropper tool.

Sub View Window: A tab in the same panel as the Navigator allows you to open reference images for colorpicking without pasting them directly into the project file. This tab has its own dedicated color picker.

Apple Preview: I opened the client's official PNG in MacOS's default image viewer program, Preview. I minimized my Clip canvases, double-clicked on my active brush color to open the Color Settings window, and clicked on the window's eyedrop tool, which is a separate color picker that lets me pick from anywhere on my screen, including the windows of other applications.

The screen picker was the only one that picked the incorrect color.

At first, I thought Randy's theory had some teeth, and I made a few more test exports. The screen colorpicker continued to pull desaturated colors, but reimporting these images into Clip yielded perfect, unaltered colors.

And then I used the screen colorpicker to pick the already-desaturated swatch from my test palette.

It desaturated even further.

Picking colors directly from your screen works differently from the default eyedropper tool.

The "Pick from screen" tool requires granting CSP access to your entire screen, naturally. There must be something going on under the hood involving how the machine displays graphics on your screen that Clip doesn't play nice with, resulting in colors that are ever so slightly washed out. This ONLY happens when you use the screen colorpick to pick from images that were exported from CSP AND are displayed in another piece of software. Reimporting it into the software makes all three eyedroppers pick the correct colors. Using the screen picker on screenshots instead of exports yields the right colors. Importing both my Saturation and Perceptual tests into Photopea yields the right colors.

The only possible way I can recreate Randy's color issue is by using the most buried colorpicker to pick from images in the most annoying way possible, re-exporting, and repeating ad-nauseam. I cannot reliably recreate Randy's issue with a single export from a project file, which is what I expect of most artists' workflows. The most convenient workflows for color referencing do not produce any desaturation at all when colorpicking for new pieces.

All of my character references are fully intact.

The only possible explanation I have for this is that Randy has been exporting with CYMK expression all this time, but that still doesn't explain the stacking effect over multiple exports. Whatever it is, though, it cannot be a default color setting.

That said, it is not best practice to be colorpicking from subsequent works in the first place, and you should always go back to the original project file for a given character design. For extra security, keep written notes of RGB hexadecimals for every color, as these values are universal across visual media software.

Conclusions: This is not as universal a problem as it initially seemed. It is good to keep every single project file you make. Keep track of the numerical values of your colors whenever possible. Saturation render intent and RGB expression color don't hurt, but they may not be wholly necessary if you are not specifically having this problem. Not everyone has been secretly desaturating every piece they make without realizing. Your character references may be fine. You should be picking from the original reference anyway.

Above all, DO NOT BE DISCOURAGED!

Do not let this stop you from creating! Problems like this can always be solved, and if it really does require you fiddling with a setting or two, it's worth it. Randy had a real problem, and it really was solved by changing their render intent and export expression color, but you can't know if you have the same problem until you test your colors yourself. Do not assume that the default settings are the sign of a bad product or incompetent design on the developers' parts.

*I am running Clip Studio Paint Pro version 1.13.2.

Just to make a point, every time I finished a panel of this I would export it as a PNG on the perceptual setting and use it as a color reference for the next panel

IT'S BAD

PLEASE CHECK YOUR COLOR SETTINGS

EDIT: If you're still having problems, it might help to switch from "Save/Save as" to "Export (as a) Single Layer". Just. Make SURE the box labeled "Expression Color" is set to RGB. I've been messing with this all day, and it looks like this combination of settings will allow exported PNGs to maintain their colors perfectly. To you. So far both Discord and Toyhouse still only display desaturated images and I cannot for the life of me figure out why

[melbournestuccorepairpros]

The Stucco Repair Process: Step-by-Step from Inspection to Finish

Stucco is a popular exterior finish for homes and commercial buildings thanks to its durability, versatility, and aesthetic appeal. However, like any building material, stucco is not immune to damage. Over time, moisture infiltration, cracks, impact damage, or foundation shifts can lead to visible deterioration. That’s where professional stucco repair comes in.

Knowing what to expect during the stucco repair process can help homeowners and property managers make informed decisions and avoid further complications. In this article, we’ll walk you through the step-by-step stucco repair process, from the initial inspection to the final coat.

Step 1: Thorough Stucco Inspection

The first step in any successful stucco repair is a detailed inspection of the damaged area. Professionals will evaluate:

The type of damage (cracks, bulges, stains, or holes)

The extent of deterioration

Whether the damage is superficial or structural

Moisture presence using probes or infrared cameras

For example, a small hairline crack might just be cosmetic, while a long diagonal crack or discolored area could indicate water damage or movement behind the wall. According to industry data, over 60% of serious stucco issues are moisture-related, making this step critical.

Once the inspection is complete, the technician will provide a repair plan and cost estimate.

Step 2: Surface Preparation and Safety Precautions

Before any work begins, the area is prepped to ensure both safety and effectiveness. This includes:

Removing loose or crumbling stucco

Taping off windows, doors, and adjacent surfaces

Placing drop cloths to protect landscaping and walkways

Wearing personal protective equipment (PPE)

Preparation is key for proper adhesion of the new stucco layers. Any dust, mold, or contaminants must be removed to ensure long-lasting results.

If mold or rot is detected behind the damaged stucco, the affected sheathing or insulation must be replaced before repair can proceed.

Step 3: Lath and Base Repair (If Needed)

If the underlying lath system (metal mesh or wire) is corroded or detached, it must be replaced. The lath provides structure and bonding support for the stucco layers.

This step may also involve:

Reinstalling a weather-resistant barrier (WRB)

Repairing flashing around windows or doors

Replacing damaged plywood or sheathing underneath

Skipping lath repair is one of the most common causes of premature stucco failure. A strong foundation ensures the longevity of the new stucco layers.

Step 4: Stucco Application – Multiple Coats

Once the surface is ready, it’s time to apply the new stucco. Traditional three-coat stucco systems are most common for durable and long-lasting repairs.

1. Scratch Coat

This is the first layer, typically about 3/8 inch thick, applied directly onto the lath. It’s scored with horizontal lines (or “scratches”) to help the next layer bond. It’s then left to cure for 24–48 hours.

2. Brown Coat

The second layer smooths out the surface and adds thickness and strength. This coat is leveled and floated to create an even finish. It usually cures for 7–10 days, depending on temperature and humidity.

3. Finish Coat

The final coat determines the texture and appearance. It may be smooth, sand, lace, or dash finish—depending on your home’s design. This coat can be tinted with pigments to match existing stucco, or painted after curing.

Step 5: Blending and Color Matching

A common concern during stucco repair is matching the repaired area with the surrounding surface. Skilled technicians use custom-mixed color additives and finish textures to blend the patch seamlessly.

In cases where exact color matching isn't possible due to fading or weather exposure, many homeowners choose to repaint the entire wall for uniformity.

It’s worth noting that pigmented finish coats typically last longer than painted stucco and are less likely to peel or fade over time.

Step 6: Final Curing and Cleanup

After the finish coat is applied, it needs time to cure and harden properly. During this period, it's important to:

Keep the surface moist if curing in hot or dry conditions

Avoid impact or pressure on the repaired area

Prevent paint application until the surface is fully dry (usually 7–10 days)

Once the repair is complete, the crew will remove all protective coverings, clean up debris, and conduct a final walkthrough with the homeowner.

Step 7: Sealing and Maintenance Recommendations

Though stucco is low-maintenance, applying a breathable sealant or water-repellent coating can further extend its lifespan—especially in regions prone to heavy rainfall or humidity.

Experts recommend inspecting stucco exteriors annually for:

Hairline cracks

Stains or discoloration

Soft or bulging areas

Moisture around windows and doors

Minor repairs caught early can save you thousands of dollars in future remediation. As a rule of thumb, most stucco finishes should be resealed every 5–7 years.

How Long Does Stucco Repair Last?

When done correctly, stucco repair can last 20 years or more. The key is proper prep, skilled application, and maintenance. Cutting corners or using subpar materials can result in premature cracking or moisture intrusion.

According to a 2023 contractor survey, professional stucco repairs last 2–3 times longer than DIY fixes, especially in regions with harsh climates or older buildings.

Final Thoughts

Stucco repair is a detailed process that requires precision, patience, and professional expertise. From the initial inspection to the final texture coat, each step plays a crucial role in restoring both the integrity and appearance of your home’s exterior.

Whether you're dealing with a hairline crack or large-scale damage, investing in professional stucco repair ensures your property stays protected and beautiful for years to come.

[celebritybiography12]

Effective Solutions for Flaking Paint on Oil Paintings

Oil paintings, treasured for their beauty and historical significance, often encounter issues like flaking paint over time. Flaking paint repair on oil paintings is a delicate process that requires expertise and careful attention. Understanding the causes and solutions is essential for anyone seeking to restore these valuable artworks.

A common cause of flaking paint on oil paintings is changes in environmental conditions. Fluctuations in humidity and temperature can cause the canvas to expand and contract, leading to cracking and paint loss. While proper climate control can help prevent this, once flaking begins, professional intervention becomes necessary.

The restoration process starts with a detailed assessment of the painting. Restorers evaluate the extent of the flaking paint damage and identify any underlying issues, ensuring that the right techniques are applied during the flaking paint repair process.

Before repair can begin, it is crucial to stabilise the flaking paint. Restorers use specialised adhesives to carefully reattach loose paint, preventing further deterioration and ensuring a solid foundation for subsequent repairs.

After stabilisation, the painting undergoes gentle cleaning. Dust and grime can accumulate on the surface, potentially causing more damage. By using mild cleaning solutions, restorers can remove contaminants without harming the original artwork, preparing the surface for the next steps in the flaking paint repair process.

Once the painting is clean, the areas where paint is missing can be carefully retouched. Restoration experts mix pigments to match the original colours of the painting and apply them to the damaged sections with precision. The goal is to blend the new paint seamlessly with the old, ensuring that the restoration remains invisible.

In more severe cases, structural repairs to the canvas may be necessary. This may involve patching tears or reinforcing weakened areas of the canvas. These repairs are carried out using materials compatible with the original painting to maintain the artwork’s integrity.

An essential part of any flaking paint repair on oil paintings is documentation. Restorers keep detailed records of the materials and methods used in the restoration process, ensuring a comprehensive history of the painting’s conservation for future reference.

Preventive care plays a vital role in preserving oil paintings. By displaying and storing paintings in environments with stable humidity and temperature, owners can minimise the risk of future flaking paint. Regular inspections also allow early detection of issues before they become severe.

Repairing flaking paint on oil paintings is more than just addressing visible damage. It is about preserving the artwork’s value and historical significance. Restoration techniques safeguard the painting's beauty and legacy for future generations.

Whether you are an art collector, artist, or simply a lover of fine art, understanding the importance of flaking paint repair on oil paintings is invaluable. By working with professional restorers, you can ensure that your oil paintings receive the highest standards of care, protecting their beauty and enhancing their market value. Professional restoration not only preserves the aesthetic appeal but also serves as a valuable investment for the future.Source: https://www.myvipon.com/post/1117234/Effective-Solutions-for-Flaking-Paint-Oil-amazon-coupons

[healthandfitness789]

Concrete Facades: The Ultimate Guide to Modern Architectural Elegance

Concrete facades are quickly becoming a hallmark of contemporary architecture. Known for their durability and aesthetic versatility, concrete facades offer a unique blend of strength and style that enhances both residential and commercial buildings. This blog will explore the benefits, design options, and maintenance tips for concrete facades, demonstrating why they are a top choice for modern architecture.

What Are Concrete Facades?

Concrete facades refer to the exterior surface of a building that is made from or finished with concrete. This can include both the structural concrete elements and decorative concrete finishes. The use of concrete for facades provides a sleek, robust appearance that can be customized to fit various design preferences, from industrial chic to sophisticated modernity.

Why Choose Concrete Facades?

Durability and Strength: Concrete facades are highly durable and resistant to weather conditions, making them ideal for a variety of climates. They can withstand harsh environments and maintain their structural integrity over time.

Aesthetic Flexibility: Concrete can be molded into virtually any shape and finished with a variety of textures and colors. This flexibility allows architects and designers to create distinctive looks that can range from smooth, polished surfaces to rugged, textured finishes.

Low Maintenance: Compared to other facade materials, concrete requires less maintenance. It is resistant to fading, cracking, and peeling, which reduces the need for frequent repairs and upkeep.

Energy Efficiency: Concrete facades can contribute to a building's energy efficiency. They provide excellent thermal mass, which helps regulate indoor temperatures by absorbing and releasing heat slowly.

Design Options for Concrete Facades

Exposed Concrete: For a raw, industrial look, exposed concrete facades showcase the natural beauty of the material. This style highlights the texture and character of the concrete, often complemented by minimalist architectural features.

Decorative Finishes: Concrete facades can be finished with various textures, such as stucco, polished surfaces, or patterned imprints. These finishes can mimic the appearance of other materials like stone or wood, offering a wide range of aesthetic possibilities.

Colored Concrete: Adding pigments to concrete allows for a spectrum of colors. This can be used to match the building's design with its surroundings or to create a bold statement.

Concrete Panels: Prefabricated concrete panels can be used to cover large surface areas efficiently. These panels can be customized with different textures, colors, and patterns to fit the design vision.

Architectural Features: Incorporating features like shading elements, perforations, or integrated lighting can enhance the visual appeal of concrete facades while providing practical benefits like reduced glare and improved energy efficiency.

Maintenance Tips for Concrete Facades

Regular Cleaning: Although concrete facades are low maintenance, regular cleaning helps maintain their appearance. Use mild detergents and avoid abrasive materials that could damage the surface.

Inspect for Damage: Periodically inspect the facade for any signs of damage, such as cracks or discoloration. Early detection allows for prompt repairs, which can prevent more extensive issues.

Sealant Application: Applying a sealant can protect the concrete from moisture and staining. Reapply the sealant as needed based on the manufacturer's recommendations.

Avoid Harsh Chemicals: Use gentle cleaning solutions to avoid damaging the concrete. Harsh chemicals can degrade the surface and lead to long-term damage.

Professional Assessment: For significant repairs or restoration, consult with a professional who specializes in concrete facades. They can provide expert advice and ensure that repairs are done correctly.

Conclusion

Concrete facades offer a combination of durability, aesthetic flexibility, and low maintenance that makes them an excellent choice for modern architecture. Whether you're aiming for a minimalist design or a more elaborate finish, concrete facades can be customized to suit your needs while providing lasting performance. By understanding the various design options and maintenance practices, you can fully leverage the benefits of concrete facades and enhance the beauty and functionality of your building.

[integrating-sphere]

The difference between Xenon Lamp Aging Test Chamber and UV Aging Test Chamber

Methods to test anti -aging and light stability often cause controversy. Over the past few years, all kinds of methods have been applied. Now most researchers have used natural exposure methods, Q-SUN Xenon arc lights or QUV accelerate aging test equipment. There are many advantages of natural exposure testing methods, which are practical, cheap, and easy to operate. However, most manufacturers are unwilling to wait for a few years to observe whether a new improved product design has really improved. Climate and sunshine are the main causes of damage to coatings, plastic, ink and other polymer materials. This damage includes loss of light, fading, yellow change, cracking, peeling, crispness, reduced strength and layering. Even the indoor light and the solar light transmitted through the glass window will make some materials aging, such as the fading or discoloration of pigment, dyes, etc. For many manufacturers, the aging and optical resistance of products are extremely important. Equipment for accelerated detection and light stability is widely used in research and development, quality, control, and material testing. These testing equipment provides fast and repeated test results. In recent years, laboratory testing equipment with low prices and convenient use has been developed, including QUV  UV aging test chamber conforms to ASTM G 154) the lamp test chamber according to ASTM G155. Xenon Lamp Aging Test Chamber and UV Aging Test Chamber are widely used for extensive accelerated aging testing equipment. The test principles of these two testing equipment are different. The lamp test chamber simulates all the spectrum of sunlight, including ultraviolet rays (UV), visible light, and infrared (IR). It is used to test many products. These products are more sensitive to long -wave bands, visible light and infrared rays of ultraviolet rays. UV aging test chamber cannot simulate the full spectrum sunlight. The principle is that for the durable materials exposed outdoors, the short -wave band of ultraviolet rays 300 ~ 400 nm is the main cause of aging damage. It can be seen that in the short -wave area of ultraviolet rays, that is, from 365 nm to the low band of sunlight, QUV can simulate the sunlight well. However, it will be powerless for the longer wavelength. The method of testing depends on the test needs, and each method may be very effective. The appropriate detection equipment should be selected according to the test products or materials, application conditions, the degradation mode and budget considered. LISUN has developed and produced the Xenon Lamp Aging Test Chamber and UV Aging Test Chamber. Customers can choose the right test equipment according to their test requirements. 1. UV light aging test chamber structure: 1. The structure of the test chamber is made of corrosive metal materials, including 8 fluorescent ultraviolet lights, water disks, test sample racks and temperature, time control systems and indicators. 2. The lamp power is 40W, and the length of the lamp is 1200㎜. The scope of a uniform working area of the test chamber is 900 × 210㎜. 3. The lights are installed into four rows, which are installed in two rows. Each row of lamps is installed in parallel. The center distance of the lamp is 70㎜. 4. The test sample is fixed in the position of the near -parallel surface 50㎜ on the surface of the phase light. The test sample and its bracket form the inner wall of the chamber. Their back is exposed to the cooling air of the room temperature. Essence The condensation stage on the surface of the test sample generates stable condensate conditions. The test chamber should generate natural air convection by the passage of the bottom chamber and the channel of the test sample. 5. The water steam is generated by a low water disk with a low heating chamber. The water depth is not greater than 25㎜, and there is an automatic water supply controller. The water disk should be regularly cleaned to prevent the formation of scale. 6. The temperature of the test chamber is measured by the sensor on the fixed width 75㎜, height 100㎜, thickness 2.5㎜. The black aluminum plate (blackboard) is measured. The blackboard should be placed in the central area of the exposed test. The measurement range of the thermometer is 30 ~ At 80 ° C, the control of the container is ± 1 ℃. The control of the light and condensation stage should be performed separately. The condensation stage is controlled by heating water temperature. 7. The test chamber should be placed in a laboratory with a temperature of 15-35 ° C, 300㎜ from the wall, and should prevent the effects of other thermal sources. The air in the laboratory should not be strongly circulated to avoid affecting the light and condensation conditions.  The reason why UV aging test chamber uses UV lights is that they are more stable than other lamps and can better reproduce the test results. The impact of fluorescent UV light simulation on the physical properties, such as decreased brightness, cracking, peeling, etc.,. There are several different UV lights to choose from. Most of these UV lights mainly produce ultraviolet light, not visible light and infrared light. The main differences of lamps are reflected in the differences in UV's total energy generated by them in their respective wavelengths. Different lights will produce different test results. The actual exposure application environment can indicate which type of UV light should be used. UVA-340, the choice of simulated sunlight ultraviolet rays The UVA-340 can simulate the solar spectrum of the critical short wave length range, that is, the wavelength range with a spectrum of 295-360nm, and the UVA-340 only generates the UV wavelength spectrum that can be found in the sun. UVB-313, for a large degree of acceleration test UVB-313 can quickly provide test results. The short wavelength UVs they use are stronger than the UV light waves that are currently found on the earth. Although these UV light that is much shorter than the natural wavelength can accelerate the experiment largely, it also causes inconsistent and actual degeneration damage to certain materials. Standard definition of a fluorescent ultraviolet lamp with a light below 300nm, which is 2 % of the total output light, is usually called UV-A light. The light can be greater than a fluorescent ultraviolet lamp with a total output light below 300nm. , Usually called UV-B light. UV-A wavelength range is 315-400nm; UV-B wavelength range is 280-315nm The advantages of fluorescent lamps are: quickly obtain test results; simplified light control; stable spectrals; only less maintenance; cheap price and reasonable operation costs. 2. Xenon Lamp Aging Test Chamber introduction: Xenon lamp aging test chamber adopts xenon arc lamp which can imitate the full spectrum of sunlight to reappear destructive spectral wave that exists in different environment. It can provide the corresponding simulation environment and accelerated test for scientific research, product development and quality control. Xenon lamp aging test chamber can be used for the choice of new materials, improving of existing materials, or the test of evaluating the durability of material composition when it is changed. It can imitate different environmental conditions to observe changes of the materials which were exposed in the sun. Xenon lamp aging test chamber is designed according to ISO 4892-1, ISO 4892-3, GB/T16585-1996, GB14522-93, GB/T16422.3-97, D2565 ASTM D2565 and other relevant standards. Xenon Lamp Aging Test Chamber include water-cooled Xenon lamp chamber and air-cooled xenon lamp chamber. Technical parameters of climate test chamber for water-cooled Xenon lamp: • Model: XD-80LS Working size: 800*800*800mm • Temperature range: RT+10℃～80℃(Adjustable) • Temperature deviation: ±2℃; Temperature fluctuation: ±0.5℃ • Humidity range: 65%-98%RH; Humidity fluctuation: ±3% • Wind speed: ≤1.5m/s Sample rack speed: 5-12r/min(Adjustable) • Rainfall time: 0～9999min(Adjustable) • Xenon lamp source: Water-cooled lamp • Quantity of Xenon lamps: 1 PCS • Xenon Lamp Power: 6000W • Distance between sample holder and lamp: 200~375 mm • Illumination time: 1～9999h、m、s continuously adjustable • Temperature control instrument adopts high precision digital microcomputer integrated controller; Accuracy: 1℃(Display range) • Resolution: ±0.1℃ • Temperature sensor: PT100 platinum resistance thermometer • Control Way: Heat balance temperature and humidity control way • Temperature and humidity control adopts P.I.D+S.S.R system and channel coordinated control • Equipment feature: with light, rain, temperature, humidity, wind, etc. climate • Xenon lamp radiation intensity: 0.35w/m²; Wavelength: 200~800nm Technical parameters of climate test chamber for air-cooled xenon lamp: • Model: XD-150LF; Working size: 600*760*500mm(L*W*H) • Temperature Range: RT+10～80℃(Adjustable); Blackboard temperature: 63℃ ±3℃ • Temperature fluctuation: ±0.5℃; Temperature deviation: ±2℃ • Humidity range: 50～95% R•H(Adjustable); Humidity deviation: ≤±2% • Glass window filter: 1 PC • Time of raining: 0～9999min; Cycle of raining: 1 ~ 240min, the interval can be adjusted • Spray time: (Water spray time/no water spray time): 18min/102min or 12min/48min • Rain water pressure: 0.12～15Mpa; Spray nozzle aperture: Ф0.8mm • Xenon lamp source: Air-cooled lamp; Quantity of Xenon lamps: 3 PCS • Xenon lamp power: 1.8KW/PC • Heating Power: 3KW; Humidification power: 1.5KW • Distance between sample holder and lamp: 230～280mm • Sample rack tray: 1 layer turntable • Wavelength: 200～800nm • Illumination time: 1～9999h、m、s continuously adjustable • Irradiance: 0.35w/m² (optional for Radiometer) • Total Power: 9.5KW Lisun Instruments Limited was found by LISUN GROUP in 2003. LISUN quality system has been strictly certified by ISO9001:2015. As a CIE Membership, LISUN products are designed based on CIE, IEC and other international or national standards. All products passed CE certificate and authenticated by the third party lab. Our main products are Goniophotometer, Integrating Sphere, Spectroradiometer, Surge Generator, ESD Simulator Guns, EMI Receiver, EMC Test Equipment, Electrical Safety Tester, Environmental Chamber, Temperature Chamber, Climate Chamber, Thermal Chamber, Salt Spray Test, Dust Test Chamber, Waterproof Test, RoHS Test (EDXRF), Glow Wire Test and Needle Flame Test. Please feel free to contact us if you need any support. Tech Dep: Service@Lisungroup.com, Cell/WhatsApp:+8615317907381 Sales Dep: Sales@Lisungroup.com, Cell/WhatsApp:+8618117273997 Read the full article

[bethanythebogwitch]

This Wet Beast Wednesday is going to get dark. Not because of any grim subject matter, but because it involves caves. The olm (Proteus anguinus) is a cave-dwelling salamander classified as a troglobite, meaning it lives only in caves and cannot survive elsewhere. Compare to a trogophile (lives both in caves and outside) and a trogloxene (visits caves, but can't survive long-term in them). It is found in caves in the Dinaric Alps mountain range and can be found near Trieste, Italy, southwestern Croatia, and Bosnia, and has been introduced to a few other cave systems. Historically, they have been known for washing out of caves after heavy rainfall, where they were often though to be baby cave dragons. The olm sets the record for being Europes only trogolobitic chordate and the largest trogobite in the world at 20-30 cm (8-12 in) long.

(Image: a olm seen from above)

Unlike most salamanders, the olm is exclusively aquatic, living entirely underwater. To support this lifestyle, it is neotenic (retains juvenile characterists as an adult), having external gills for its entire life. The adult form does have lungs, but they are only used in ery low-oxygen environments. Despite sharing this adaptation with the North American axolotl, the two species are not closely related. They also have multiple adaptations for a life spent in complete darkness. Like many other cave-dwellers, olms are blind. Their eyes are very underdeveloped, but are still sensitive enough to detect light, which the olm flees from. To compensate, their other senses are more developed than those of other salamanders. They have powerful chemoreception through taste and smell, able to detect very low concentrations of chemicals in the water. It also has powerful hearing and a unique organ on its head that allows it to pick up electric fields. They are known to use this sense to orient themselves with the planet's magnetic field lines. Olm skin is thin and has no pigment, giving it a very pale coloration. They do retain the ability to create melanin and will gradually darken if exposed to light, though this is stressful for it. Their bodies are long, slender, and flexible, with underdeveloped legs. This allows them to have more sensory receptors along the body as well as helping them move through tight places.

(image: the head of an olm)

Olms live life in slow motion. The scarcity of food in their habitats is matched with a very slow metabolism that also gives them extremely long lifespans. They feed on small invertebrates and are capable of going on extremely long fasts between meals by reducing activity and metabolic rate. Olms can last up to 10 years between meals and one was recorded as staying in the same spot for 7 years without moving. They have an estimated maximum lifespan of 100 years and an estimated average lifespan of around 68 years. It takes a juvenile around 14 years to become sexually mature (though this rate in increased in warmer water) and females typically only reproduce every 12.5 years. Sexually active males establish a territory and chase other males away. This is notable because olms are otherwise gregarious, meaning they try to live around others. Mating pairs perform a mating ritual in which they circle around each other while touching each other with their snouts. The male then releases a spermatophore (sperm capsule) and the two wriggle together until it reaches the female's cloaca. Females lay their eggs in small cracks or between rocks and protect them as they develop. Some older references state that olms give live birth at low enough temperatures, but this has never been observed by scientists.

(gif: an olm moving around)

Olms have a subspecies called the black olm (Proteus anguinus parkelj) that is found in a very small cave system in Slovenia and has several differences from other olms. Black olms have pigmented skin, fully developed (though still small) eyes, and its other senses are weaker. This suggests that the black olm is a much more recent colonist of caves and has yet to fully adapt to an underground lifestyle. In addition, olms from different cave systems have minor physical variations, usually involving head size.

(image: a black olm from above)

Olms are classified as vulnerable by the IUCN, though local populations may have their own classifications. Their biggest threat is from pollution, especially wastewater runoff containing pesticides, fertilizers, and PCBs. Olms are also targeted by the black market pet trade and many places have laws preventing the removal of olms except for scientific purposes. Caves are temporary structures and species specially adapted to live in them will always be in danger should the environment change rapidly or the cave collapses. Olms have been introduced to a few other cave systems. Olms are considered a national symbol of Slovenia, especially as their presence in Postojna cave was one of the inspirations for the beginning of cave biology as a field and they are still used to encourage ecotourism.

(image: an official Slovenian coin depicting an olm)

[find-the-devil]

II. I Tend a Garden

Ennis drew open the blinds. By now the sun had risen and warmed the earth. Swirls of heat rose from the dirt and distorted the air in the most minute, nearly imperceptible ways, like dragging a wet paintbrush through a small spot of watercolor paint, pulling the delicate pigment across the paper. Insects clung to the cool windows and mice cowered for shade amongst the garden plants, gorging themselves on watery vegetables, cucumbers, tomatoes and the like. This was the patch of farm he left for the wilderness, that he tended to for the animals that belonged to nature. His own food was grown on the other side, facing the cornfield. Blackberry bushes grew on their own by the low shoulder that divided his territory from that of the thousands of green stalks. 

Ennis cracked open a window, letting the chilled air that had clung to his walls join the heat outside. The breeze breathed balmy wind into the room which tousled the curtains. It brought in the scent of wheat and earth and smoke from a fire that had not ravaged but simply burned, impotent upon a stick and unable to claim the field. 

He turned from the window, moving across cherrywood floors with bare feet that padded quietly to the poplar chair, smooth, ivory, like bone in the light, and contrasted against the red wood on which it rested. Robin lied opposite from him, laying with legs propped up by the armrest of the couch, covered by a thin, dusty orange throw, his short grey hair peeking out from underneath, shoes ruined and a pebblish-colored coat that clung to his skin from sweat. The fabric was thin and reached just past his mid-thighs. 

Ennis took the mask set out on the table at his side, next to an untouched glass of water and affixed it to his face as the man began to stir, disturbed by the change in brightness and now vividly aware of the pain in his older joints. He hissed loudly, bending over and clutching his knees, righting himself properly before the man who sat still and observed him, leaning in, hunched and curious and silent. 

“So this is all your shit, then.” Robin spoke loudly, in a mix of disbelief and inconvenience, eyes squinted slightly and brow furrowed in confusion. He gestured vaguely to unfamiliar surroundings, his body regretting the motion instantaneously. The man in front of him gave him one nod, slow and earnest, shifting slightly where he sat, clasping his hands in front of his knees. “You know, people think you’re a ghoul, something occult and eerie. Spiritual types think you’re the Devil.” Robin added. 

“People think I’m you.” the man countered, a simple statement, tilting his head to the side as if prompting something out of the man in front of him. 

“Well, they do now.” Robin sighed, wincing slightly as he leaned back into the soft couch cushions. He pinched the bridge of his nose. “No one gets that I was by the last body 'cause I was investigating it, as the town’s only detective?” he shook his head in a kind of mirthless disbelief as he stared out of the window above the kitchen sink. 

“You retired. I get the town paper, you know.” Ennis corrected, leaning over to pick up the old newspaper under a discarded cup of coffee. Robin fell silent. He felt unsettled not by the stranger himself, but by his own lack of discomfort. The man was perfectly neighborly, he wore a white mask, affixed to his head with thick black straps, blood still stained the bottoms of his nails and eyes observing him without wasted movement, and considerate having given him not only a place to sleep but a glass of water and a blanket. 

“Yeah, I got real tired of everyone in town having my home number and calling it liberally.” Robin replied, mostly muttering, absently checking the phone in his pocket for missed calls and messages. “Dead.” he said, with a quick gesture to the black screen, mostly for himself.  Fatigue had racked his brain too voraciously for him to consider the implications. 

“You quit just after the first body.” 

“I’d’ve had to bring you in myself, I didn’t know what was doing… that but I had a feeling it was a good deal stronger than me. I was right.” he shrugged, giving a small nod to the man’s defined shoulders and thick arms before turning his attention to the window. “You can find a ‘who’ with one body, but you can only get a ‘why’ from more.”

“Well, then, good thing you found me how you did.” with an untold story of 'different circumstances' behind his words. Ennis stood up, and the red floorboards creaked. He stretched his back and shoulders like a brawler gearing up for a fight, yet instead of a fist Robin was offered an outstretched hand. “I’ll show you the garden. The grass will be light on your feet.”

The back porch looked over the cornfield, it swayed en masse with a breeze he couldn’t feel, moving to an earth rhythm humans weren’t privy to. The coniferous trees that bordered the field held themselves with a stillness unbecoming of the motion below. The stalks were bright green under the afternoon sun that beamed, hot on the soil, and cast the back of Ennis’ house into cooler shade from atop its high perch above. Robin’s senses were struck by a contradictory smell. Wildflowers, many, of different species and colors and aromas growing together from a brownish mass that lay stiff in the dirt, still clad in mucked up overalls. 

“After a while, the earth uses it entirely, all that’s left are the clothes. I wash them, repurpose them…” Ennis offered, leaning down to lift a strap of the body’s clothes with his index, insects crawling onto his arms as he did so. He brushed them off as if without having noticed their presence in the first place. The acrid smell that had intertwined itself with lavender and sweet alyssums emitted from the gaping, fleshy, rotting orifice they’d rooted themselves inside. “The soil handles the blood first, rich in nutrients, hydrating too.” the man continued explaining, patting the dirt close to the body. 

“You’d think you're selling fertilizer.” Rob interjected. 

“That’s what it is. Nature is an autocannibal, detective, she creates life to feed off of it. She’s self-sufficient. I like that.”

“Then what's with the new catch, this one looks…” he trailed off, unsure what qualifier to use. 

“His family told me he’s got a blood condition when I saw them in town. Everyone was having a wake, ‘taken too young’. He lived longer than anyone would’ve thought.”

“Is mother nature a picky eater?” Rob asked, jesting lightly as he adjusted to the scent and leaned in by Ennis to look at the life growing and thriving from the open wound. 

“No, but I am. The thought of eating sickle cell bugged me, can’t explain it.” he returned as he rose to his feet with a grunt and looked over the sunny patch of grass with eyes squinting into slits as the sun shifted in the sky and the shadows stretched in kind. 

“D’you cook the game you catch?” Robin enquired as he suddenly began to sober up to his situation. He checked his phone again. Dead. 

“Not the people. I’m no cannibal, detective. I tend a garden. I eat what comes from it. The meat I hunt is that of fox and deer.” he replied, replacing an errant support next to one of his plants. 

“Would I make a decent planter?” Robin asked, leaning on the side of the house for support as his shin bones shot waves of pain. His expression turned gravely cool, almost taunting with his calm “You know I’m no good for running.” his voice rang deep in his sternum bone.  

“I couldn’t say.” Ennis replied, with a slight grunt as he stood, facing him now with arms crossed in front of his chest. “You’re wiry, fit enough for a guy your age.” 

“I’m going to be your replacement for the new one,” he gestured with uncertainty for where the body would be kept “Wherever he is, once he’s just a pile of flannel?” he inquired again, no fear in his voice, but casual, as if asking for the time. The man in front of him tilted his head to the side, back an inch, sizing him up with his inscrutable eyes, squinting from the light and confusion, shifting the arms folded at his chest. 

“No, detective. You’re free to stay a while, if you’d like. They won’t find you here. They haven’t found me.”  Ennis’ voice turned grim, almost cooling the air, soundless. A swallow flew from tree to tree, the leaves twisting and toiling affixed to their branches, shimmering with an unknown breeze. Birds twittered and spoke to one another, and pollen floated lazily past the garden on a warm current. Clouds drifted like tanker ships far away, from their spacious blue sea in the sky. The sun hung over the house, and light crept closer to the back porch, illuminating blades of grass, turning them a lively green. Stalks some yards away swayed and twitched as a fox unseen ran through them, chasing a hare unknown. 

“When you’re all healed up, come hunting.” Ennis offered, testing the limits of the man’s collected view of a life he knew others saw as vile and evil.  

“I don’t think that’s my kind of passtime, and I’m no good with a rifle.” Rob admitted, sternness to his voice. 

“Our only lawman can’t handle a gun?” The other said, disbelief almost cutting through his cold tone. He shifted his on his feet.  

“The townsfolk who took me in accepted my technical smarts as a forgivable substitute for sharp shooting.” he winced slightly on ‘forgivable’ and paused “Circumstances being that there were no other offers and most people still wanted a detective. Not that they take any of my work to heart, they just chalk it up to the supernatural and tell me it’s out of my hands.” he finished. 

“I don’t kill with a bullet, either, not as… direct.” Ennis spoke factually. Robin sat in the grass, some feet away from the cluster of gardens, four or five of the bodies lined some distance away from the house itself. 

“Why not animals? One deer, or a lot of foxes, are bigger, more room for plant growth and less work." Rob asked. It all seemed like a wasteful system. The man’s ecological motives were not his sole reasons for his methods; madness lay in the works as well, it churned the gears of his reasoning, but his firm, rugged demeanor and stern, confident appearance and a bizarre personability lent a rational sense to his words.  

“I’ll take you on The Hunt. It’s some time away. You’ve gotten blood on your hands, but never like this.”

[aronuniversal123]

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[lvllns]

honey on my fingers

the wayhaven chronicles. mason x sparrow kingston (nb detective). ~1.8k+ words. mature for implied sex. a whole lot of praise and body worship here y’all. deep relationship mason, so soft content incoming.

read on ao3 instead.

Mason moans.

Deep, rough, from the center of his chest. It pours out of him like wine. Spilling across his chest to drip onto the sheets below. His fingers curl. Wind and card through Sparrow’s hair and they pull away to press a kiss to the inside of his thigh.

“Mêl ar fy mysedd,” they mumble against his skin.

He blinks. Tries to sort the words and gets as far as Welsh before he gives up. Everything is fire bright at the moment. Red and orange licking at the edges of his vision. His hand falls to cup their cheek and they lean into the touch with a soft hum.

“What’s that mean?” His voice is rougher than he expected.

He clears his throat.

Sparrow drops another kiss to his body, on his hip this time, before they prop their chin on his stomach. “Honey on my fingers.” They turn to nip at his wrist. “Welsh version of music to my ears.”

Heat races down his spine and Mason shivers. It’s foolish of him to hope Sparrow doesn’t notice the way his body reacts to their voice. Their touch. He can’t think of one thing over the years that they haven’t noticed. Ava calls them eagle-eyed, quick to spot the tiniest of things, and Mason enjoys the way they’re able to pick out a speck of blood or a slight shift in the paint on a wall. It’s all very impressive until that attention is focused squarely on him.

Then he feels rather like every single inch of him is on display.

Not just his skin, but the secrets he’s buried into the cracks between his ribs. Thoughts he placed carefully among the bones of his wrists. Things he expected to keep to himself until he could sort out whatever was rattling around his head, and then they’d fuck off.

Jokes on him, because once it was all laid out before him and the lights turned the fuck on, it was all he could do to not hand everything over to Sparrow immediately.

They’re still looking at him, one side of their mouth pulled up in a close-lipped smile. Their thumb is drawing sweeping circles over the skin of his thigh. He is so utterly distracted by them. By the way they sound when they’re excited, words rushing from their mouth a mile a minute. By the way they smell, soft hints of vanilla and well-worn leather. By the way their heart sounds, steady beats that lull him to sleep more easily than he ever thought possible. Noises and scents that steady him, and it’s still so strange to find comfort in sensations that usually overwhelm.

“Still with me?” Their breath is warm as it washes over his bare stomach.

He rubs a hand over his face and nods. “Yeah.” Mason curls a hand around the back of their neck and pulls gently. Guides them up his body until they’re laying on top of him, noses bumping.

Sparrow kisses him. Slow and sweet, the vague memory of the taste of sugar lingering on his lips when they pull away to kiss his cheek. “Cuore mio,” they murmur against his temple. “My heart.”

Their touch drifts over his side as they kiss his throat. They’re so gentle with him. Like even after all this time he’s going to splinter in their hands. He wants to tell them it’s different now. He’s stronger. More in tune with his emotions now that he knows what to look for. It’s a moot point though, with them draping him in affection like a warm blanket.

A thumbnail pokes against his bicep and he blinks.

“I do love your arms,” they speak into his jaw. “Strong enough to protect, gentle enough to soothe.”

A little piece of...something, wiggles loose around his heart. “Songbird—”

They quiet him with another kiss. Deeper this time. A searching kiss that has him groaning. Clutching at their waist and holding them tight.

“Are you okay with this?”

“With what? You talking nonsense about how pretty I am?”

They click their tongue. “Nonsense, please.” A tap to his nose. He scoffs. “I only speak the truth. You know I can’t lie to save my life.” Fingers lace with his. “Seriously, is this fine?”

Mason swallows and nods, not trusting himself to speak. Instead, he gently tucks a lock of hair behind their ear.

Their mouth moves back to his jaw. Slips down his neck to settle at the base. “Luce dei miei occhi.” Sparrow props themself up on an elbow and grins. His head is spinning. “Light of my eyes.” They sit up. Straddle his waist and splay their hands across his chest. “Do you know how difficult it is to pay attention when you walk around without a shirt on?”

A soft laugh escapes him, jostling Sparrow a little. He catches their hip and holds them steady. “I might have an idea, given how often I find you staring at me.”

They roll their eyes, a fond smile on their face. “Fair.” Their fingers tap across his collarbones. Dance down to his sternum. He realizes, quite suddenly, that they’re tracing his freckles again. “It’s your freckles.” Their head cocks to the side. “Don’t get me wrong, the muscles are nice.” They emphasize the words with a gentle squeeze of his pecs. Mason snorts. “But...I always want so badly to touch your freckles.”

“The feeling is mutual,” he says. He finds their shoulder. Runs the pads of his fingers over the scattered bursts of pigment that dust their skin.

Sparrow hums. “Your nose too.” Delicately, they run their touch from between his eyebrows to the tip of his nose. “It’s handsome. Suits you.” They cup his face. Smooth their thumb over his jaw. “Jawline sharp enough to cut marble.”

Mason catches the moment their eyes go bright. Delighted with whatever has occurred to them. Their hands find the side of his face, and they squish his cheeks together until his mouth is pursed.

He rolls his eyes as his head falls back, slipping from their grasp, a groan escaping him even as a grin splits his face.

They’re giggling where they sit, perched on his waist. Sparrow leans down to touch their foreheads together. “Can’t imagine why you’ve put up with me all these years.”

Mason trails a finger up and down their spine as he says, “There’s no putting up with anything.”

The admission is quiet. A secret spoken between them, poorly kept as it is. He just can’t let that go. Can’t stand to think that they believe he’s putting up with them. And for what? Sex?

No. No, he’s spent too long embracing what he feels to even consider letting their statement go unchallenged.

For their part, they blush. Red sweeping across their cheeks to their ears. Dripping down their neck to coat their chest. Paint on a canvas. Smears of color spreading out like a wildfire.

“I know,” they whisper, and those two words chase the tension from his body.

Sometimes he worries that he doesn’t do enough. Tell them enough. He’s still stumbling around this like a newborn fawn trying to cross a frozen lake. But the way they light up when he holds them or brings them a book he swiped from Nat’s library...he thinks he’s doing okay. It is nice, however, to have it confirmed.

They slither down his body, peppering kisses over his stomach as they go. Teeth scrape over his hip bones, the bite of them soothed quickly by their tongue. Sparrow curls their fingers around his thighs and exhales. Slow and even. It burns the inside of his leg and the muscles twitch. He had forgotten what they were doing before Sparrow decided this was more important, but his body reacts to them as it always does.

Immediately.

Honestly.

“You have ridiculously nice legs.” Their touch falls to his knee before moving to settle up by his hip. They quirk a brow as their fingers curl, the tips resting on the top of his ass. “I really don’t think I need to tell you what I think about your butt.”

“Need to, no. Still think you should.” He smiles, wide enough to flash his fangs.

“It’s a good butt, sunshine. Seen it plenty, mostly upside down while you’re carrying me around.” Sparrow moves to kneel between his spread legs, their hair hanging loose around their shoulders. “You’ve carried me out of some scary situations.” Their brows furrow. A little knot forms between them and he reaches up to smooth it away. Gently, he sweeps some of their hair back out of their face. “I’m terribly fond of you.”

His heart thumps painfully in his chest. Knocking against his ribs and begging to be let free. If he could give it to them, he would. On a silver fucking platter.

There are lips against the center of his chest, breaking him from his thoughts. Sparrow kisses him, the barest brush of their mouth. “Philtatos,” they whisper against his skin, “most beloved.”

Some kind of broken sound claws its way out of his throat. Mason flips them over. Hovers above them for a moment before he presses them into the bed, and slots his mouth over theirs. They’re smiling, he can feel it, but it’s a distant realization.

He feels like he’s drowning.

No, floating. He’s light, too light for the heaviness of water.

It’s a whole lot of pretty words spoken in a pretty accent by a pretty person but he knows, he knows Sparrow better than he knows himself sometimes.

They’re honest to a fault.

Especially with him.

Mason kisses them until they push on his shoulder. Breaking away to gasp for air as he moves to lick at their throat. He doesn’t know what to do with the love surrounding his heart so he gives it to them the way he knows best. By touching. He maps their body with his hands. Colors every inch of them gold in the low light of their bedroom. So long he’s seen his hands as weapons, useful things to break anyone who threatens him or those who have his loyalty. But when Sparrow is underneath him, body lifting off the bed to fit into the curve of his palms, he finds himself thinking that maybe there’s some good beneath the long dried blood on his skin.

It feels as though an age has passed when he eventually falls onto his back with a soft thump, skin slick with sweat. His eyes are shut, and he takes deep breaths through his nose. Sparrow’s heart starts to settle, to come down from the high of a moment ago, and their lithe fingers find his. Tangling together. Vines on a wall. They squeeze his hand.

They roll onto their side, wiggling close enough for their knees to push against his thighs. Light kisses pepper over his ribs until they exhale and press their nose into his side.

“Rwy'n dy garu di,” Sparrow mumbles. “I love you.”

He buries his face in their hair, eyes shut tight, and wraps his arm around their shoulders to hold them close.

“I love you too.”

[lazarus-harp]

impurity's hands | | |

a master at understanding insecurities, mat tries to soothe manny after he reveals one of his own

Who knew a simple display of the hand could be so vulernable? Brown eyes peer at the fingers sprawled out, seeing the tremor in arm— the way the producer's knuckles strain with the urge to curl his hand into a fist. To shield his fingers from the exposure. Manny controls that desire well, only showing the discomfort with minor flaws in his body rather than it being super telling. Even if Mat picks up on them all ( the way Manny avoids looking at his own hand, his soft sighing— ) he doesn't comment. To save them both the embarrassment of discussing the sore topic of insecurities.

It's not easy to focus solely on the limb before him. But, oh, he tries. Taking in the white spots freckled along Manny's already pale, delicate fingers. Lacking pigment was how the producer described it with his mumbling, always one for the artistic wordplay. He supposes that's what it is. Skin bleached near the nail line, spots on his knuckles. Though Mat's always been one for fond wordings, so all he can muster up is angel kisses or magic spots as he glances at the marks.

"Is this why you wear so many rings?" Mat inquiries, reaching his own hand out— hovering right over Manny's. He brushes his fingers over the spots.

Manny still won't look at him, all though the brushing of skin makes him shudder. "I like jewelry."

Defensive. A clear 'dismissed' attitude about it. He's not liking the prodding, which makes Mat's lips pinch together. Withdrawing his fingers into his palm to give the illusion of space.

Truly, the detective feels stumped. A little shameful if he allows himself to feel it, the burning feeling sizzling in his gut. How has he never noticed the lack of color before? And more importantly, how could Manny ever, ever, feel self-conscious about it? The white is so pretty to him, almost marking the producer with purity.

He says as such, hoping he doesn't sound a certain way when the words tumble out. "I think it's... fine?"

Putting his feelings into words was always hard even on the best of days. Extensive vocabulary knowledge only went so far when it came to wording emotions properly, in a way that got it out. Physical touch was much, much easier to express. Though from the tense man beside him, it's clear that's off the table. Such a fact stinging his heart like flat out rejection, wringing his hands together in his lap. Distance. Give him space. Stop crowding him, he tries to remember. Reluctantly, the detective leans away ; no longer squinting at the hand before him.

His comment gets a snort from the younger male, said man wrinkling his nose. "You don't have to say that to make me feel better."

"I'm not!" Now he feels defensive, rising hackles and tugging idly at his belt now. Clearly, being aloof wasn't working here. Show vulernablity back, as if this was some sort of show and tell. A silly thought that makes him grimace, yet he surrenders to it.

Awkwardly, Mat places his hand back on the table again. This time right beside Manny's. It remains stiff, fingers pressed tightly against one another as he shows off his skin. He has the producer's attention almost immediately, sharp eyes taking him in curiously.

"Better than mine," Start off comparing, "vitiligo or not, at least your hand is soft."

There's blotchy redness all over his hands, cracks in his worn out skin. He wasn't one for hand cream like Manny clearly was. Rather content with stuffing his hands into his pockets whenever he wanted, or using them to cling to people. The white spots on his friend's hand are undoubtedly better than red blemishes. While the bleached look to Manny screamed everything heavenly, there was only a raw, mean look to Mat's own skin.

A flicker of upmost sympathy flashes on Manny's face as he looks up at Mat. This time, he's the one avoiding gazes ; quietly looking around the room so he doesn't have to face the fluttering in his chest whenever he catches tender, green eyes. Doesn't stop Manny from speaking though, tone quiet whilst he deals the words out slowly.

"Your hands are so pretty! What are you talking about?"

A smile works it's way upon his face at the compliment, ducking his head a bit so he can somewhat hide his sheepish expression. His cheeks glow and it's hard to fight the heat back down when Manny leans in closer, crowding the detective himself. Mirroring how he had invaded the other's space prior.

Managing a snort, Mat finally withdraws his hand. "And so are your hands, but you didn't believe me."

After that, Manny's face twists into one of practiced disappointment. Able to pick up exactly on what kind of game he's playing with him here. When he's glared at, Mat finally manages to relax once more under the look. Anything but a tender glance and he could look the other straight in the eyes, squinting his brown orbs to mask his smugness at the fact he knows he already won this game.

A whistle of a sigh leaves Manny's glossed lips, and then, "... Let's just both agree that our hands are fine. Deal?"

Just like that, Manny's hand withdraws— the producer believing the conversation to be over. Sparks flicker in the air between them that draws out this tenseness, regardless of their topic. Intimacy pouring out of them from their brief moments of chosen vulernablity. He misses the sight of the spotted hand immediately, slumping in his chair as the term angel kissed runs laps around his head again. It lodges in his throat, wanting to spill off his witty tongue. Instead he settles on a quiet agreement.

"Deal."

[obediencess]

Talk to me about colors and Riccardo. It's such a large part of Anne's descriptions of Venice and Armand's worldview in TVA, but what does it mean for Riccardo, as an artist and a person?

thank you PLEASE I LOVE this question, and I actually have so many thoughts about this in particular. One of the first things I decided about Riccardo’s background pre-TVA was that the merchant who won Riccardo from his father was a silk merchant. Now, you probably wouldn’t trust a boy with the intricacies of weaving, even though Riccardo has especially fine hands, because the materials are too valuable. He is, however, perfectly capable of the more menial and physically laborious task of dyeing the silk. Which means for hours a day (and night, since Marius himself remarked he was worked day and night) all he did was stand over hot, boiling vats of pigmented water, turning the tines of dye over and over until they took to the colour. This gave him intricate knowledge of the kinds of pigments used, their appearance, their luster, their rarity, and also an intense appreciation for the colours themselves. I have such a vivid image of a little round-faced Riccardo staring into the boiling water in awe of the swirling vivid colour, carrying the images to his cot on the backs of his eyelids, dreaming of the rich verdigris and carmine, smelling of the woad flowers used for the blue dye, finger tips stained with true indigo. The beauty of colour allowed him to endure all manner of things, there. His wonder and awe of it became so zealous it was almost religious. To a child who has come from nothing, who can only touch such fine things, feel the soft silken strands when he comes to turn them on the burning tine and immerse them again in the dye, it is precious because he thinks it is the nearest he will ever come to such beauty, even if the steam burns his cheeks and the water leaves his hands cracked and swollen. He cannot touch the fine things they produce, he can only hungrily devour the sight of them in their most primitive state; the burning aureate vats and the fine silken strands drinking the dye and flushing brilliantly with each vivid colour. 

It is because of his background as one of the tintori that Riccardo has such an aptitude for colour. He can detect the subtlest differences in pigment, he knows them all by name and by appearance. He knows how to grind many of them, already. He excels quickly and becomes one of Marius’ most talented students because he already implicitly understands and venerates colour. The elevation of status he experiences as one of Marius’ little princelings only strengthens his marrying of colour and wonder because suddenly he is dappled in the silks that he was struck for touching as a merchants slave. They’re everywhere, in all their variegation. He understands implicitly what it means that Marius wears the rich, bleeding scarlet and that Amadeo is cloaked in the blue reserved almost exclusively for the Madonna in painting, and for the cardinals silk vestments in the churches. Colour, for him, is pleasure. It’s the first pleasure he ever know, and for a time, the only pleasure. It is for love of colour that he continues to paint, and that he is determined to become a painter in his own right. As much as Riccardo enjoys the fragmentary underpainting entrusted to him by Marius, and the few little details -- the flowers, the feathers on the caps, the frills -- that he and some of the other more advanced apprentices are entrusted to complete in his great frescos, he craves to have control of the whole scene. He wants more than flowers and frills and the occasional beatific angel’s face. It is both a passion and an obsession, a constant companion. He has pigment dust trapped under his fingernails most evenings. His clothes smell of linseed oil. 

When the palazzo burns it is the colour of the flame as it laps at the frescos that remains with him, rocking in the hull of the boat, clinging to his brothers. Amadeo appears to him in memory in a shock of pure lapis lazuli. It is colour above finery that he craves in those long years he endures in the catacombs under Rome. It is colour that he pursues first and foremost when he’s freed and he begins to paint again. He never takes to the Dutch school because of it’s emphatic drabness and reliance on cool tones, even though he completely falls in love with the tulip for the various and lustrous hues of its petals. The symbolism of colour in painting becomes law to him, everything and everyone he loves is painted in the richest, most expensive, striking colour. He imagines that those he loves that he paints will see and implicitly understand how he loves them simply upon seeing the colours he has used to render them. 

Colour really is ingrained in Riccardo, it is the one river of his life that flows on and on. 

[loiseileen]

A piece of t-shirt transfer paper can give a DIY creative gift to my brother who likes Superman?

The day after tomorrow is my brother’s birthday. He is an avid #Superman lover. And he is also a Superman in my mind. Therefore, I have always wanted to give him a meaningful and creative gift.

I want to tell him that no matter whether his appearance is the same as the superman image, he will always be the superman in my mind, always sheltering me from wind and rain and protecting the world.

By chance, I learned about #heat transfer paper, a special paper with pigment layers. I can use the inkjet printer to print the image I want on the iron on transfer paper, and transfer it to the surface of the clothes after hot pressing. Then the DIY t-shirt is completed.

So I entered Amazon for selection. I found a new brand at a low price, so I decided to buy it and have a try.

I first used my not-so-good ps skill to create an image of my brother wearing a superman costume in my heart.

Then the image was printed on t-shirt transfer paper with an inkjet printer.

Finally I cut it and printed it on the T-shirt with an iron.

After the transfer was completed, I was very worried about the quality of the transfer image I made. It turned out to be surprising that the quality of the inkjet transfer paper I chose and my own transfer technology were so good. After leaving it for 8 hours, I used a washing machine to clean it. Surprisingly, there are no cracks or peeling! The image transferred to the t-shirt is actually very thin, and the t-shirt is still soft and breathable. The colors are also bright and without any fading!

This "special paper" #transfer-paper for t-shirts is really amazing to me!

I believe my brother will really like this gift I made for him!

If you are eager to do your own DIY, I strongly recommend to you TransOurDream transfer paper, which is of high quality and low price. And I was presented with more than 100 free quality pictures. Besides, its operation video is very clear and detailed, so a person like me who is not good at handmade can easily operate perfect works. Now TransOurDream also has a 5% discount campaign.

Here secretly put the link of my treasure to Superman fans: https://www.amazon.com/dp/B08CN3N48H?ref=myi_title_dp

You can also follow their Facebook/Twitter/YouTube/Instagram to learn more about TransOurDream.

Finally, I really look forward to my brother's handsome appearance in this Superman T-shirt!

（The copyright of Superman belongs to Detective Comics and is not for commercial use.）