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Answers on postcard please.

mga temang

The term you guys were looking for about Jeremy's lack of visualization is Aphantasia, and it's actually sort of a scale! You can have a vivid visual imagination (also called Hyperphantasia in certain situations), only slightly visual, or none at all. It's a relatively new area of study, but I have it and know of several others who do. And yes, Jeremy, I too cannot make my hands cooperate in the art department

Omg can people stop “cancelling” things it’s annoying

One thing you might like to explore is this. As you know, Turner in later life appeared to begin his watercolour sketches by wetting the paper and then applying a series of thin washes; blue, red and especially yellow, joining the sky and the ground. But what you may not have thought significant is that in many of his finished watercolours he appears to have worked up this pale ground and sky background to a good finish, without first indicating the horizon, shoreline or the main objects at all. Then, the central horizon or shore is either omitted completely or added as a light hue on the still wet paper. When the darker hues are later added to the horizon edges; the central misty nothingness, or the first pale, blurred central horizon or shore is left untouched. This, in contrast with the less blurred middle ground creates the stunning effects of distance. It was those techniques he tried to carry on in into oil. Perspective, after all, was Turner's interest from the beginning - his first lectures were on it. So although he is generally thought to have an especial interest in light effects and the sun, it seems pretty clear that these were mere tools for achieving the main object of his study and research which was to stun the public with his amazing effects of distance to rival Claude. So his colour beginnings watercolour sketches get worked up to the mid-1830s oils like Keelmen heaving in coals by night, 1835 or The Golden Bough, 1834, culminating in his masterpiece, The Fighting Temperature, 1838, which have nothingness in place of the central ground or horizon. And to give concrete substance to the clouds and sun in such a world of pale subtlety, he transferred another watercolour medium to canvas, and that is white tempera, which he could lay on thick and scumble the surface of to make clouds. He could then glaze over it before he uses more translucent oil washes over the top - another perspective trick borrowed from watercolour painting.

She goes attacking the man she just hit and nobody helps him. They just stand and watch

I love the fact that Princess Clara went to the helmet first without hesitation. It fits perfectly with her personality.

The bit when she unpops the champagne cork was too much for me to take. My own cork popped at this point.

This was absolutely amazing! So much diversity, representation, everyone with amazing complexions, not one image being praised over the other, from different hair types, body types, and even to sexuality... This was EPIC! Love it!