Above is the “Know Anon” code that allows you to expose any hateful anons you wish at your own whim. If you know anyone who’s struggling with anonymous hate, reblog this for them.
- How to install
Simply copy the above code and paste it right after the <head> portion of the HTML coding on your blog. This is with the jQuery script included, so everything should be covered. Once you’ve done this, update and save, then exit your customize page.
Re-enter your customize page, and under “appearance” should be a button called “Enable Know Anon”, which may be on or off automatically, depending. Flip the switch to enable or disable it, then save.
- How to use
When you get anonymous hate or anon messages you find offensive, simply exit your Inbox, enter your Customize page, flip the switch to “on”, then save and exist. Re-enter your inbox, and any and all anonymous messages will be exposed with a URL, if they have one. Note that this includes everything, not just the hate. Another thing to note is that, once you expose anons in the inbox, you can’t un-expose them. Flipping the switch back to “off” does nothing.
Answer a message people thought was on anon, and gee, they’ll get a nasty little surprise, hmm? It’s better than a fake anonymous button because while you still can’t control who it exposes, you can control when to do so.
Remember though, that this isn’t the only way to stop anonymous hate. As always, there’s simply the “turn anonymous asks off” button. And thanks to the update from a few months ago, anons CAN be blocked.
That little hand right there? That’s the ignore button. It’s present on all asks sent, whether anon or otherwise. When you block an anon, you have the option to report them for spam or harassment, and it will permanently block them. It also blocks the IP address and computer, so that person can’t take advantage of extra accounts to continue sending you hate. It effectively wipes that person right out of your Tumblr life. They cannot contact your blog again, ever.
For the website that gives you the Know Anon code, with or without jQuery script, in case that causes trouble (most themes come with it pre-installed, but not all), go here.
[ Goodness, wow thank you very much for letting me know this existed! That was very considerate of you! ]
Tip for all my student readers: if you’re too lazy to use a bibliography creator like NoodleBib or RefWorks, let Google generate your bibliography entries for you. All you have to do is google the article/book title in Google Scholar, click “cite” at the bottom of the search result, and copy either the MLA, APA, or Chicago cite into your word document.
WATERCOLOUR CHEAT CODES
I made really quick tutorials full of swatches to send my mom who wants to take up watercolour painting for a hobby. I’ll share them here as I find time to type what I wrote her.
The first two pictures illustrate discoveries in mixing skin-tones. I try to find paints that make it faster/easier to mix skin colours - even if you’re adept at making these tones out of other colours, the right combo of purple and yellow can cut out a lot of time and money. The one I have most success with is “violet gray”, then “permanent magenta” for darker and wider ranges, and “purple lake” when I was cheap and it was on sale.
Mix these (sparingly) with raw sienna. The darker the purple the less you’ll need to add to your yellow (yellow ochre works as well). Ultimately, watercolour is tricky to mix so if you’re not confident right away make sure to paint swatches before putting a loaded brush to paper, otherwise be ready to mix with water on the paper.
For a lighter, paler, redder skin tone, raw sienna + brown madder is what I prefer, although as you can see in the first image (about half-way down the page on the left), “cadmium yellow pale hue” and “cadmium red deep hue” work just as well, and might be cheaper on you. With that combo, however, it’s easier to get stuck mixing a ton of orange.
Back to permanent magenta, it’s great with browns to get darker tones, not just for darker skin but for shading. I keep three browns on my “skin” palette (last pic), “burnt umber”, “burnt sienna”, and “vandyke brown”. Mix it with some skin-tone, even just a little, to keep it from looking straight-out-of-the-tube.
So mix your skin tones, make a few test swatches to figure out how much water you need (every brush behaves differently), and lay down some washes.
In the middle of the first piece of paper is a gradation in a skin tone (violet gray + raw sienna) from really warm (“brown madder”) to really cool (“turquoise”). This was done wet in wet, to show what kinds of tones you get from adding warm and cool colours.
To the left on the bottom are a couple light washes of colours painted over a skin tone (same ol’ raw sienna + violet gray) to show how different colours look on this mix when applied dry on dry. Blue (I used turquoise again) is great for some shadows, implied stubble, and veins close to the skin, reds and most browns for warmer shading, yellow for jaundice or boogers… you get it.
On the bottom right is an example of really warm vs. really cool shading on the same skin tone mix (just guess). The initial skin tone wash is a bit warm for the cool side, but the contrast makes the shadows really evident. Different colours in shading will have different effects that way. The only surprise here is the use of dark blue “indigo” which is great for coming close to black when mixed with other colours.
On the second page are two more noses, different skin tones, and just three extra passes with skin tone washes - although difficult to tell because I was lazy and didn’t wait long enough for them to dry after the 2nd pass. The extra passes aren’t particularly warm or cold leaning, but simply draw off of the initial tone I placed.
IMPORTANT: These little quick studies serve to be as economical as possible, using few colours but still not looking just like an awkward mix of red and yellow or brown and yellow. For a more detailed or accurate representation of skin tones, a ton more colours might be added - for instance the darker skin tone on the right would have more pinks, and of course different parts of the body appear to be tinted differently. Also never forget no matter what colour or how dark skin is, skin is shiny. Be mindful of even diffused light. At the same time - perfect representation of skin is hardly necessary. More expressive colour treatment rules.
But ultimately - colour in skin - who cares! Just play around with colours you like, build a base that’s easy for you to mix quickly for wet on wet or however you prefer to work. Play with colours on different planes or surfaces of the body, with light, and take everything I say as a tips - not rules - ‘cause watercolour is really unpredictable and that is often the best part.
Another note: I use pencil tins for palettes, it keeps things portable, easy to mix, minimal paint waste, and I can rearrange paints easily to make mixing easier. I usually have three but you could get away with one or two. If you try it out, keep the paints and empty space clean with jut a bit of water and the wipe of a cloth/kleenex.
The third picture shows a really quick, easy, natural black mix I make. It’s simply “Hooker’s Green, Dark” and “Dioxazine Violet” at almost equal quantities. You can mix it with a blue or red or yellow for a warmer or cooler black, depending on which you need. I included some gradation and overlapping swatches. Just keep in mind black can be very powerful in watercolour, or any opaque application of the paint, so use it sparingly and with a plan in mind.
Despite my shitty watercolour sketches up here, I spent a huge amount of being a child working at a cooperative gallery with some contemporary and purist watercolour painters alike so I picked up a lot. If anyone wants me to be more specific about something, or maybe produce a more specific guide or sketch for a problem you have, let me know and I can try to help out.
These were things my mum asked for and that I produced with her knowledge of the medium in mind, so if it really did interest you but you’re stuck on something, or found something I said vague and confusing, let me know.
EDIT: A tutorial I made to talk about paper. It’s important stuff. [link]
It’s essay writing season for tons of students!
After being a college writing tutor for over a year, I thought I would share my advice with all you awesome people on tumblr. This is how I write essays, but if you’ve got more tips, feel free to add them below.
Happy writing. You can do it!
This is an excellent writing advice from Chuck Palahniuk. This was first seen on tumblr. Unfortunately, when I clicked on the link, it no longer existed.
But, I still think it’s worth sharing.
writingadvice: by Chuck Palahniuk
In six seconds, you’ll hate me.
But in six months, you’ll be a better writer.
From this point forward—at least for the next half year—you may not
use “thought” verbs. These include: Thinks, Knows, Understands,
Realizes, Believes, Wants, Remembers, Imagines, Desires, and a hundred
others you love to use.
The list should also include: Loves and Hates.
And it should include: Is and Has, but we’ll get to those later.
Until some time around Christmas, you can’t write: Kenny wondered if Monica didn’t like him going out at night…”
Instead, you’ll have to Un-pack that to something like: “The
mornings after Kenny had stayed out, beyond the last bus, until he’d
had to bum a ride or pay for a cab and got home to find Monica faking
sleep, faking because she never slept that quiet, those mornings, she’d
only put her own cup of coffee in the microwave. Never his.”
Instead of characters knowing anything, you must now present
the details that allow the reader to know them. Instead of a character
wanting something, you must now describe the thing so that the reader
Instead of saying: “Adam knew Gwen liked him.” You’ll have
to say: “Between classes, Gwen had always leaned on his locker when he’d
go to open it. She’s roll her eyes and shove off with one foot,
leaving a black-heel mark on the painted metal, but she also left the
smell of her perfume. The combination lock would still be warm from her
butt. And the next break, Gwen would be leaned there, again.”
In short, no more short-cuts. Only specific sensory detail: action, smell, taste, sound, and feeling.
writers use these “thought” verbs at the beginning of a paragraph (In
this form, you can call them “Thesis Statements” and I’ll rail against
those, later). In a way, they state the intention of the paragraph. And
what follows, illustrates them.
“Brenda knew she’d never make the deadline. Traffic
was backed up from the bridge, past the first eight or nine exits. Her
cell phone battery was dead. At home, the dogs would need to go out, or
there would be a mess to clean up. Plus, she’d promised to water the
plants for her neighbor…”
Do you see how the opening “thesis statement” steals the thunder of what follows? Don’t do it.
If nothing else, cut the opening sentence and place it after all the others. Better yet, transplant it and change it to: Brenda would never make the deadline.
Thinking is abstract. Knowing and believing are intangible. Your
story will always be stronger if you just show the physical actions
and details of your characters and allow your reader to do the thinking
and knowing. And loving and hating.
Don’t tell your reader: “Lisa hated Tom.”
Instead, make your case like a lawyer in court, detail by detail.
Present each piece of evidence. For example:
“During roll call,
in the breath after the teacher said Tom’s name, in that moment before
he could answer, right then, Lisa would whisper-shout ‘Butt Wipe,’ just
as Tom was saying, ‘Here’.”
One of the most-common mistakes that beginning writers make is leaving their characters alone. Writing,
you may be alone. Reading, your audience may be alone. But your
character should spend very, very little time alone. Because a solitary
character starts thinking or worrying or wondering.
For example: Waiting for the bus, Mark started to worry about how long the trip would take…”
A better break-down might be: “The schedule said the bus would come
by at noon, but Mark’s watch said it was already 11:57. You could see
all the way down the road, as far as the Mall, and not see a bus. No
doubt, the driver was parked at the turn-around, the far end of the
line, taking a nap. The driver was kicked back, asleep, and Mark was
going to be late. Or worse, the driver was drinking, and he’d pull up
drunk and charge Mark seventy-five cents for death in a fiery traffic
A character alone must lapse into fantasy or memory, but even then
you can’t use “thought” verbs or any of their abstract relatives.
Oh, and you can just forget about using the verbs forget and remember.
No more transitions such as: “Wanda remembered how Nelson used to brush her hair.”
Instead: “Back in their sophomore year, Nelson used to brush her hair with smooth, long strokes of his hand.”
Again, Un-pack. Don’t take short-cuts.
Better yet, get your character with another character, fast.
Get them together and get the action started. Let their actions and
words show their thoughts. You—stay out of their heads.
And while you’re avoiding “thought” verbs, be very wary about using the bland verbs “is” and “have.”
“Ann’s eyes are blue.”
“Ann has blue eyes.”
“Ann coughed and waved one hand past her face, clearing the cigarette smoke from her eyes, blue eyes, before she smiled…”
Instead of bland “is” and “has” statements, try burying your details
of what a character has or is, in actions or gestures. At its most
basic, this is showing your story instead of telling it.
And forever after, once you’ve learned to Un-pack your characters,
you’ll hate the lazy writer who settles for: “Jim sat beside the
telephone, wondering why Amanda didn’t call.”
Please. For now, hate me all you want, but don’t use thought verbs. After Christmas, go crazy, but I’d bet money you won’t.
For this month’s homework, pick through your writing and circle every “thought” verb. Then, find some way to eliminate it. Kill it by Un-packing it.
Then, pick through some published fiction and do the same thing. Be ruthless.
“Marty imagined fish, jumping in the moonlight…”
“Nancy recalled the way the wine tasted…”
“Larry knew he was a dead man…”
Find them. After that, find a way to re-write them. Make them stronger.