Hey-o I use this blog to keep track of reference images for "environments", "people", "tutorials", and "fashion" ♥️
Misplaced Lens Cap
Xuebing Du
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taylor price

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todays bird
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$LAYYYTER
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Product Placement

ellievsbear
2025 on Tumblr: Trends That Defined the Year

pixel skylines

JBB: An Artblog!
NASA

Love Begins

oozey mess
cherry valley forever
we're not kids anymore.
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@what2drawreferencefactory
Hey-o I use this blog to keep track of reference images for "environments", "people", "tutorials", and "fashion" ♥️
elijah wood as bacchus at 2004 mardi gras. if you care
that's the context???
Sagres, Portugal by Luca Severin
25-year-old Cab Calloway photographed by Carl Van Vechten on January 12, 1933.
Character designs concept art from Sony Animation’s GOAT (2026).
Art by Chloe Veillard (badmiaou on Instagram) and Donminique Dawson (costume designer)
Bronze and Crystal Sword from China, c.450-250 BCE: the hilt of this sword was crafted from rock crystal, turquoise, and gold
This sword is more than 2,200 years old. The elaborate hilt was carved from a piece of rock crystal and then embellished with turquoise stones and intricate patterns of inlaid gold.
Above: a close-up of the ornately-decorated hilt
The blade itself was forged from bronze, and it has a greenish-blue patina that was naturally produced over time.
Above: some of the damage and discoloration on the blade
As this article explains:
This bronze sword from the Warring States period stands as a testament to engineering and artistic excellence. Meticulously detailed, the sword features a slender, formidable blade that would have delighted its owner both in battle and aesthetically.
However, the true star of this sword lies in its exquisitely decorated hilt. Adorned with inlays of rock crystal, turquoise, and gold, the hilt showcases the remarkable technical and artistic skills of ancient Chinese artisans. These precious materials not only enhance the sword’s visual appeal but likely communicate the status and affluence of its owner.
The sword’s intricate craftsmanship and use of rare materials suggest it was likely commissioned by a wealthy and influential individual, such as a high-ranking military commander or an aristocratic elite.
Sources & More Info:
History, News, and Archaeology: The Jeweled Sword of Ancient China
Brewminate: Metallurgical Evolution in Ancient China
Britannica: The Warring States Period
Black Silk Gauze Gown
c. 1866
Augusta Auctions
[ID: two brown bears resting in the grass below two trees filled with small, white flowers /End ID]
just in case anyone forgot how wildly colorful Georgian interiors could be, even among the working class to the wealthy:
and EVEN WHEN things were more muted/neutral, the neutrality was OFFSET by ACCENT COLORS and HIGH CONTRAST between the wood tones and everything ELSE
ALSO AMERICAN COLONIAL INTERIORS POPPED OFF, Y'ALL (IN TERMS OF COLOR/COZINESS)
PEOPLE USED WHITEWASH AND COLORFUL TRIM OR EVEN JUST COLORFUL FURNITURE IF THEY COULD AFFORD TO DO SO
AND DON'T GET ME STARTED ON FRENCH AND BRITISH AND AMERICAN WALLPAPERS
"ELIZABETH" YOU CRY, "WHY ARE YOU BEING SO EXTRA THIS MORNING?! IT'S MONDAY"
Because, my friend, my war on GREIGE will NEVER end.
Historic interiors were filled with LIFE and LIGHT and COLOR. ALWAYS HAVE BEEN.
Part of the reason we don't see a lot of textile art is because, frankly, textiles tend to degrade over time - especially ones that had utility! And yes, pigments and weaving and dying all boosted the expense of things, when we were finally reliably block-printing fabrics and broad reams of paper, it was no longer just the wealthy who could afford pretty patterns!
In the Americas, a far wider variety of pigments also became available because of the abundance of... well, a shitton of flora and minerals, some of which weren't as common in Europe.
WHY THE HIGHLIGHTER COLORS? you ask.
CANDLES.
Those colors reflect candlelight and natural sunlight REALLY WELL.
Humans LOVE bright colors, it's NOT just a thing for kids. We live in a brilliant, vibrant, multifaceted world. We ALWAYS have.
(STOP MAKING YOUR HISTORIC SIMS 4 BUILDS BE BLAND. STOP IT.)
On the subject of Colonial America: don't forget, even if you couldn't afford wallpaper, wall stenciling might still be in reach!
(If ever you have the opportunity to visit the Stencil House at the Shelburne Museum in Vermont (pictured above at 3, 4, and 5), I highly recommend.)
And that's before you get into American painted murals:
Embrace the decorative arts, folks!
The beautiful art of Thomas Blackshear II
i went to his website and saw even more great art! sharing some more which i particularly appreciated
Son of the White Mare / Fehérlófia (1981) dir. Marcell Jankovics
kitty su by rielle oase
"I thought I had this under control…"
Please enjoy this snail measuring tape i got at a garadge sale today
Hannah Einbinder and Jean Smart photographed by Chantal Anderson for The New York Times