More Maggie weirdness.
Her shop loses its name sometimes.
Here's a shot of what the name and the general top of the awning looks like:
There's a little bar above the awning and a gray frame around the name section. Swirly name.
Here's the shop when Crowley pulls up coming back to do the apology dance, s2e1 38:20, which is also when Maggie is locked in the cafe with Nina.
Here is the same shot, super brightened and overexposed to show where the name isn't. It should be in the big orange section above the gray looking bar, which isn't actually gray, you can see the orange on the far left and far right.
The name is not missing because it's night or because she's not in there. I looked at other night shots, the name is there.
Here's the shot of the shop when Maggie is also locked in the cafe a bit earlier, lamenting to Nina that just anyone could go steal stuff, at 36:34, also overexposed and brightened:
Notice there's two places for the shop name. The top one is definitely missing in the above Crowley shot, but I can't tell if the bottom one is also missing. I tried brightening the shot again, but there's too many shadow artifacts to be sure. If someone's got an OLED they can take a shot from and brighten that, I would like to know what you find.
I tried looking for other nighttime shots or other times we see the shop, either they didn't show it or it was there.
Here is another instance during the day of there being no name on the top, while Azi is driving away in the Bentley in e3 at 0655.
Bottom name is there, I think.
I don't think the original Vinyl Fetish store that was there in S1 had that extra bottom name. Here's some of the few shots we get of it. It does not look like there is an extra nameplate under the awning.
What's the point of Maggie's shop losing its name?
Orange represents god. People can no longer find or identify god? God is gone from this world? God is so changed that even those looking can't find her? Not a satisfying in-universe reason though. Shops don't just lose their names, I think this is more evidence we're looking at a memory and not real time.
When does it happen?
It doesn't happen just because the Bentley is leaving, because the first one has the Bentley pulling up, and here's another where Crowley has just parked during e5 at 01:01 and the names are there.
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Part 6 of A Treatise of Embroidery, crochet, and knitting with illustrations
By George C. Perkins, Anna Grayson Ford, and M. Heminway & Sons Silk co circa 1899.
Please note, this book was written in 1899, and as such uses a racist term to refer to the dyes that were used for the thread. If you'd like to read more about this period in time, the term, and the stereotypes that the Victorians had, I've actually linked the wikipedia article here that goes more in depth. It's not the end all be all of it, but it's a good starting place for anyone wanting to educate themselves on the topic.
Since the alt text was too long to fit in the actual pop up, I'm writing it down here!
Page 29.
Lessons In Embroidery.
This page has the pattern for the strawberry and blossoms embroidery on it. It resembles a paint by numbers/letters image with a table showing the corresponding colours. I will try my best to explain the image, but first the colour charts.
Berries-Ripe.
Red:
655 shade number 1, 655 shade number 2, 656 shade number 3, 657 shade number 4, 658 shade number 5, 659 shade number 6, 660 shade number 7, 661 shade number 8.
Blossoms:
691 shade number 9.
Centre:
647 shade number 10, 409 1/2 shade number 11, 410 shade number 12.
Unripe Berries:
682 shade number 13, 683 shade number 14, 684 shade number 15.
Leaves and Stems.
Green:
0428 shade letter A, 428 shade letter B, 429 Shade letter C, 429 1/2 shade letter D, 430 shade letter E, 431 Shade letter F, 372 shade letter K, 373 shade letter M.
Brown:
300 shade letter O, 301 Shade letter R.
Strawberry Design.
Materials. — M. Heminway & Sons' Oriental Dyes, Japan and Spanish Floss.
Berries. — Ripe and unripe; Red — "Sharpless variety" — 0655, 655, 656, 657, 658, 659, 660, 661. Unripe — 0655, 655, 656, 682, 683, 684. Blossoms.— 691, 682, 683, 0655. Centres. — 647, 409 1/2, 410. Leaves. — 0428, 428, 429, 429 1/2, 430, 431 ; or 370, 371, 372, 373, 374, 300, 301. Scallop. — 581 or 691. —Spanish Floss.
Design No. 153 — Strawberry. 18 inch. See Colored Plate C1.
Description.— Fill in berry crosswise, shortstitch on the wrong side, not much filling. For filling to raise the berry use M. Heminway & Sons' white Persian Floss. Start at the point of berry with two strands of red, 655, shading with one strand as dark red as 661. For an unripe berry start with light green, 682 and 683, shading into the green the light pink, 655, making the berry as ripe in color as 660. The seeds on the red berries put on with small stitches, gold, 409 1/2. On those that are not ripe use green, 428.
Blossoms. — White, 691, shadow of green, 682 on lower petals, touching a few of the new blossoms with light pink, 0655; pollen of 647, 409 1/2, 410.
Leaves. — On the outer edge of the leaf use two strands, shading toward centre with one, use a little brown, 300 and 301, for faded part of leaf.
Scallop. — Button-hole stitch in pink, 581, Spanish Floss, or 691, with an outline above scallop of one strand filo, 310.
Now I will describe the first illustration which shows the embroidery by letters/numbers diagram. I will be describing the image from the bottom to top as the spray of strawberries and blossoms flow in a diagonal from the bottom left to the upper right.
We start with two parallel, diagonal stems that branch off in multiple directions to hold the entirety of the design. The two stems are done in shade letters D and E. The rightmost stem slips under two leaves, forking into a third tendril, before the left fork curves gracefully to the right and ending in a strawberry. The right fork goes downwards and forms the triple fork from where the three large strawberry leaves all come from in this piece. An upper one, a bottom one, and one off to the right that is slightly twisted so the underside of the leaf tip is visible.
Shade letters for the bottommost leaf, from base to tip, left to right. Starting at the top where the base joins the stem:
1st row: E, O, R.
2nd row: E.
3rd row: F, C.
4th row: D, E, E, D.
5th row: B, D, C.
leaf tip: C.
For the twisted leaf at the right of the previous:
1st Row: C, D, C.
2nd Row: D, E, C.
3rd Row: C, D.
4th Row: E, D, B.
5th Row: F.
Leaf tip: A.
For the Upper Leaf:
1st Row: D, E.
2nd Row: C.
3rd Row: B, D, E, D.
4th Row: D, C, D, C, D.
5th Row: A, B.
6th row: A, R.
Leaf tip: A.
Back at the beginning, where the stems are parallel, the leftmost stem forks before the two separate bits slip under the upper large leaf that we described earlier. The right fork curves up and to the left into a strawberry while the left fork curves up behind it. It would seem a second strawberry also emerges from a stem coming from behind the same leaf, although it does not show a fork. This berry sits just under the other.
Higher Strawberry:
1st Row: 4, 6.
2nd Row: 3, 2, 5, 3, 3.
3rd Row: 2, 15, 4, 8, 3.
4th Row: 14, 2.
Strawberry Tip: 13.
Lower Strawberry:
1st Row: 8.
2nd Row: 5, 6, 7, 5.
3rd Row: 4, 4, 5, 4.
4th Row: 2, 2, 2, 2.
5th row: 1, 1, 1.
Only two of the little strawberry leaf tops have any kind of letter indication, all of them combinations of C, D, and B, so your guess is as good as mine.
Emerging from the top strawberry is another series of three stems, two of which appear to have forked somewhere behind the berry unseen. The left stem goes up and then promptly forks before slipping under a fully bloomed strawberry blossom, and then emerging from the top with a single leaf gracing the end. Somewhere behind the flower another tendril has forked off this one and goes up to end in a tiny blossom not yet bloomed. Next to that is the stem that will be described in a few paragraphs, and then another stem leading to a small blossom, that is also not fully bloomed.
Big Blossom:
This has 5 petals in total, and all the petals are tipped in shade number 9, and all excepting the leftmost petal gradiate to shade number 13. The leftmost petal gradiates to shade number 14, and then the center is shade number 10.
Small Blossom:
9 at the tip, 13 at the base, there are 3 petals showing.
Tiny Blossom:
same, 9 tip, 13 base, also 3 petals showing.
Back to under the blossom, the right stem from the original fork leads up to an elegant waving stem that branches off into several tendrils mostly decorated with a pair of leaves each.
The left tendril from that fork extends up a ways, waving a bit and is done in shade letter B, and then forks one last time culminating in a pair of tiny leaves on the right fork and a waving tendril on the left that finishes in shade letter A.
Leaf 1:
Base E, Tip D.
Leaf 2:
Base C, Tip B.
The right tendril from the fork that leads into the last also immediately forks again ending in a pair of tiny leaves coming from each tendril.
From lowest leaf to highest, base to tip:
Leaf 1 right tendril: E.
Leaf 2 right tendril: D, C.
Leaf 3 Left Tendril: D, E.
Leaf 4 Left tendril: C, B.
all the tiny leaves leaves save one are done in two colours, one for the base and one for the tip. So wherever you decide to put a tiny leaf, you can keep the colour schemes in mind.
There is an image at the bottom captioned Design No 153- Strawberry. 18 inch. See Coloured Plate C1.
This has what appears to be a doily with an embroidered scalloped edge and the large strawberry image placed at the top and bottom of the doily, flowing with the circular edge. There is a small smattering of petals coming off of an extra pair of fallen blossoms that were added to one edge, and a small detached strawberry on the other.
All in all, thank you for your patience while I try to get these out. If anyone has any suggestions to make these easier to understand, my inbox is always open.
I will be posting another pair of images sometime this week!
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