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"Needy, unable to cope" (<- you try coping with chronic pain)

"Comfort seeking" (<- you mean.. having a preference for not being in pain.. how criminal)

"Using or trying to obtain drugs on a long-term, chronic base" (<- do you understand what 'chronic pain' means.)

"Asking for pain med then returning to sleep."

"States he’s level 10 pain, but does not appear to be in pain (or ‘5= on appearance)." (<- it is well-known that chronic pain patients tend not to display pain in the same way as acute pain patients)

"Dramatic response to pain" (<- notice how this directly contradicts the comment above. you cannot win)

"Gets IV med, then leaves unit to smoke or walk around" (<- wow requiring medication and then going off to do something you needed pain meds to be able to do is so suspicious)

Securing everything in place.

Miniature rings and nails.

And tiny bows.

I'm making a 1/12 scale Delft themed room, full of Delft Blue and Vermeer's paintings.

All I have to do now is decorate the shelving on the left.

this IS one of the craft discussions that got me yelled at on fandom twt because of the exact same misunderstanding. there are MANY ways for a scene to serve a story that have nothing to do with driving a plot, because plot itself is only one element of story. anyone who has not yet developed an understanding of story beyond "fictional events, described in order" might hear "everything in the story should serve a purpose" and parse it as "cut everything that doesn't move the plot forward" but, at the risk of being a pretentious bitch, that's never what the serious people were saying. in lrb example of far from the madding crowd four pages of a guy standing in a freezing sheep field at midnight watching the stars sticks with op because it serves the story without driving the plot. and a lot of those old books are classics that we still study to this day because (among other reasons) it is worth taking the time to sit with those scenes and ask ourselves what their purpose is, what they're doing there, how they work.

and then I thought about what it must have been like for the first humans to let a fucking wolf, maybe only a few generations from the wild, behold their infant child. Like man can u believe that? Maybe this alliance is only a few years old and sure you’ve seen the wolf’s kids but now you’ve got one of your own. And even though you’ve seen this wolf tear out the throats of creatures that could kill you, this wolf is your family. This wolf is your friend, you love them and they love you and you gotta show ‘em the new kid, look, friend, I had a child. I know you are wild and dangerous, but look at this, my most precious thing, sniff him, give him a lil lick, his children and your children will be bound together for thirty thousand fucking years because I love you

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.

(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: