Mainshocks always have aftershocks that follow. The largest, main earthquake is called the mainshock. Scientists can’t tell that an earthquake is a foreshock until the larger earthquake happens. These are smaller earthquakes that happen in the same place as the larger earthquake that follows. The location below the earth’s surface where the earthquake starts is called the hypocenter, and the location directly above it on the surface of the earth is called the epicenter. The surface where they slip is called the fault or fault plane. I always say that if you enjoy drawing something, then by all means, keep drawing it.A normal (dip-slip) fault is an inclined fracture where the rock mass above an inclined fault moves down (Public domain.)Īn earthquake is what happens when two blocks of the earth suddenly slip past one another. Old cars seem to have such personality when I draw them in my sketchbook, and I simply enjoy the process. After some time, I grew to really love drawing cars, so to this day they make many appearances in my work. The toys they played with, the sports they played, their favorite articles of clothing, and trucks and cars all became regular subjects. For all of the years that I was documenting my days in my sketchbooks, the subject matter was slightly geared towards what my kids were interested in. My boys often spot a car and remark on the model or the design, and so drawing them helps me to remember a moment. Cars that I see during my travels also take me back when I look through my sketch journals. We have tons of books on cars and automobile design on our shelves, so by osmosis I have learned quite a lot about the history of certain brands and have memorized dozens of car logos. My husband loves cars, old and new, and my older son, for many years, was obsessed with learning every make of car on the road. I have drawn so many cars throughout the years. The issue isn’t only the non-stop deliberation (I’m a club sandwich of problems), the other thing is the continuous urge to move items around, in the hope that if I change something, I might prefer it. I’m writing this from a near-empty room, with about 37 tabs open as I hunt for wall mirrors and rugs to replace the ones I just sold. Last week I sold almost all of the furniture in our living room because I was in the mood for a change. Some things are barely here long enough to collect a fine layer of dust before I decide that something else would be better. I’ve commissioned bespoke furniture only to sell it a year later and I’ve bought investment pieces that I expected to keep for a lifetime, then six months later, I’m on the lookout for a replacement. I’ve had five sets of dining chairs and four dining tables in the short time that we’ve rented this particular flat. I’ll contemplate homeware decisions for years while sitting in dark rooms pondering various lamps, using emergency furniture that I only intended to keep for a few weeks. In my own home, it won’t surprise you to learn that I can never commit to a purchase long-term. Once we were all met, there were 31 students present other than me-2 more would be joining in a couple of days one was ill, one was… late? (a story for another time)-but of those 31, one of them was Phoebe Waller-Bridge. Black sprung floors, white walls, a piano in the corner, stacks of chairs laid out in rows that day and, naturally, I guess it wouldn’t be an educational establishment without them, oppressive overhead fluorescent white lights that would eventually send us to sleep in our ‘sight-reading’ classes. I was directed to a room that would come to be known as Acting Studio 1, in the RADA Gower Street building in London’s Bloomsbury. I’d had a RADA prospectus from about age 12 and it had taken me three years of auditioning to get in, so I was keen, to say the least. Twenty years ago today, I rocked up to the Royal Academy of Dramatic Art full of hopes and dreams, with a wide-open heart and an even bigger grin (soon to be shattered to pieces, but nevertheless).
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