Phrases and practice

Learn a useful phrase in context, listen to its pronunciation and practise saying it.

• The perceived expression of a mask may change as the head tilts, so one frontal photograph does not describe its full stage effect.C1 · #4626
• Let us caption a photograph of an actor wearing the mask differently from a photograph of the object alone so that the performer's pose is not attributed to the mask's construction.C1 · #4627
• In the description, let us distinguish the painted gaze from the direction in which the actor turns their head; the two cues may direct the viewer's attention differently.C1 · #4628
• The visible ties fasten the mask, but without an explanation in the photograph they may be mistaken for part of the depicted hairstyle.C1 · #4629
• A smiling mask in a mourning scene may create a deliberate contrast; the description should not automatically treat the pairing as a mistake in choosing a prop.C1 · #4630
• An instruction to fold the top corner needs a clear reference after the sheet is rotated; the top of the previous drawing need not remain the top of the next.C1 · #4631
• An arrow showing rotation of the whole model should differ from a folding arrow, because a similar direction in the drawing does not mean the same action.C1 · #4632
• Let us mark the enlarged detail as a close-up so that the reader does not look for a second, larger sheet at this step.C1 · #4633
• A line left by an earlier fold is not an instruction to cut; if both markings appear in the guide, they must be clearly distinguished.C1 · #4634
• The last drawing before closing the model should show the arrangement of parts that will later disappear inside rather than jump straight to the finished figure.C1 · #4635
• When the beginning of the record is missing, the position in a photograph may be the reconstruction's starting point, but does not by itself establish that we know all earlier moves.C1 · #4636
• A comment written after the game need not reflect the player's thoughts at the moment of the move; let us mark it as a later analysis.C1 · #4637
• Arrows added to a diagram may show possibilities that were considered, not only moves actually played in the game.C1 · #4638
• A photograph of the board rotated relative to the player's view requires its orientation to be established before we label piece locations according to the game record.C1 · #4639
• The time remaining on the clock after the last move does not tell us how long that one move was considered if we do not know the previous reading.C1 · #4640
• The same melody recorded at different distances may give the impression of a different instrument volume; the comparison should account for microphone placement.C1 · #4641
• The sound of the lid closing can remain part of the object's presentation, but should be distinguished from the melody itself when describing its ending.C1 · #4642
• A shot of a hand winding the mechanism explains the start of the demonstration, but does not replace a description of which part of the recording shows the melody actually playing.C1 · #4643
• If a melody excerpt has been looped for the exhibition, let us mark the edit boundary rather than suggest that the music box plays continuously throughout the recording.C1 · #4644
• Descriptions of the decoration and the mechanism should identify separate features so that similar housings are not taken as proof of identical sound.C1 · #4645
• Exaggerating height makes the terrain easier to feel, but the map description should state that the vertical proportions differ from the horizontal ones.C1 · #4646
• A raised boundary line does not mean there is a wall on the ground; the explanation should distinguish a conventional symbol from a represented obstacle.C1 · #4647
• When a place name covers a small feature, it is better to move the name to a reference label than move the feature itself and alter its map position.C1 · #4648
• A model showing today's terrain is not automatically a map of historical boundaries; the two kinds of information need separate descriptions.C1 · #4649
• Let us indicate the viewing orientation in the relief presentation so that rotating the model is not read as a change in the arrangement of mountains and valleys.C1 · #4650
• A task directing participants to an inscription on a gate should allow for the gate being shut; otherwise, solving it correctly will depend on chance access to the courtyard.C1 · #4701
• A clue based on the facade's colour will be too unreliable if players must identify it from a black-and-white card; a distinctive window shape would be better.C1 · #4702
• I would rather not award extra points for moving faster, since the game is intended for children and adults to look for details together.C1 · #4703
• If two groups receive clues in a different order, we need to ensure that no puzzle requires an answer obtainable only at the previous stop.C1 · #4704
• Let us keep the hint card separate from the solution so that using help does not prevent participants from finishing the puzzle themselves.C1 · #4705
• The illustration shows all the divider's panels in a straight line, although the text describes a zigzag arrangement; the user should not have to decide which version is correct.C1 · #4706
• The word 'turn' is ambiguous here: it could mean swapping the front and back or turning the component upside down, so let us specify the direction.C1 · #4707
• The folding procedure deserves its own illustrations rather than an assumption that the reader can easily reverse every step of setting the divider up.C1 · #4708
• Let us label the example beside the wall as a layout option unless the instructions actually require the divider to be positioned that way.C1 · #4709
• The caption should identify which panel stays still, because an arrow beside the hinge alone does not make that clear enough.C1 · #4710
• The manuscript description should distinguish the musical notation from the performer's annotations, even if both kinds of marking overlap on the same page.C1 · #4711
• Let us retain the crossed-out bar in the transcription as a rejected variant, but not insert it without explanation into the continuous sequence of the piece.C1 · #4712
• If the last surviving page breaks off in the middle of a musical phrase, the description should note that break rather than imply that the fragment is a complete composition.C1 · #4713
• Let us not replace an illegible tempo marking with a guess unless it is enclosed in editorial brackets; the reader must distinguish what survives in the manuscript from our suggested reading.C1 · #4714
• The note about repetition refers to the marked passage, so the description should not automatically extend it to every similar passage in the piece.C1 · #4715
• A bright patch in the photograph of a miniature may be light reflected in the glass, so we need to compare a view without that reflection before describing it as part of the composition.C1 · #4716
• Let us enter the support material and the frame material in separate fields, because 'on ivory' does not yet specify what the frame is made of.C1 · #4717
• If we show an open locket, the caption should explain whether the two visible portraits belong to one object or were paired only for the catalogue.C1 · #4718
• Let us place the close-up of the crack beside a photograph of the whole so that viewers can locate it rather than treat the enlarged detail as a separate miniature.C1 · #4719
• For a miniature mounted in a brooch, let us add a reference to the jewellery section while retaining its entry in the painting catalogue; its function as a wearable ornament does not prevent it from belonging to both categories.C1 · #4720
• During the shadow-theatre rehearsal, let us assess the movement visible on the screen, not just the puppeteer's hand movements, because the two views can create different impressions.C1 · #4721
• The character is meant to disappear behind the drawn tree, so let us time its withdrawal to prevent the audience from seeing the shadow move beyond the scenery's edge.C1 · #4722
• Let us assign the voice behind the screen to a specific character in the script, even if that character's silhouette is not projected at that moment.C1 · #4723
• The overlapping shadows of two figures can look like a single character, so let us rehearse them passing each other from the audience's viewpoint before deciding the scene is clear.C1 · #4724
• A recording from the puppeteers' side documents how the performance is made, but judging the stage effect also requires a view of the screen itself.C1 · #4725
• The shared victory rule should also specify when the condition is checked, since reaching the goal midway through a round can differ from maintaining it until the end.C1 · #4776
• If players may discuss their cards but not show them, the instructions should explain that distinction rather than give only a general ban on revealing information.C1 · #4777
• A token passed to another player should not also remain in the giver's pool, so let us show the accounting example before and after the move.C1 · #4778
• The description of players consulting each other should not imply that one person takes over another's turn if the active player still makes the final choice of action.C1 · #4779
• Let us mark the extra objective for experienced players as a variant so that a beginner group does not treat omitting it as a breach of the basic rules.C1 · #4780
• The model description should distinguish the part representing the hull from the display stand, even if both are made from the same type of wood.C1 · #4781
• If the rigging was simplified for the model, let us specify the extent of the simplification rather than imply that every visible line follows an identical route on the real ship.C1 · #4782
• A photograph with the deck lifted shows the model's interior, but the caption should explain that this is a display arrangement, not the ship's appearance while sailing.C1 · #4783
• Crew figures used to illustrate the model's scale need not represent the ship's full complement; the caption should explain their function rather than present their number as historical data.C1 · #4784
• The vessel's name on the stand needs to be linked to the model description; resemblance of the silhouette alone should not replace information about the documentation behind the identification.C1 · #4785
• In the tie instructions, let us establish whether the image shows the person tying it or their mirror image, because switching between these perspectives reverses left and right.C1 · #4786
• An arrow passing behind the narrow end should be drawn differently from one passing in front, so that the diagram does not flatten two different movements into one line.C1 · #4787
• Let us label the tie's ends by width rather than their current position in the picture, because they may switch sides in later steps.C1 · #4788
• A photograph of the finished knot does not explain which loop the end went through; let us show that moment before the fabric is tightened.C1 · #4789
• The advice about the starting length should remain approximate if the result depends on the tie's own length and how the knot is made.C1 · #4790
• A fan photographed open also needs a closed view if the description concerns an ornament that becomes legible only when its ribs are folded together.C1 · #4791
• When stating a fan's width, let us specify whether it was measured fully open; a measurement taken partly open does not describe the same position.C1 · #4792
• Let us describe the fan's painted landscape separately from the decoration on its outer sticks so that a recurring motif is not mistaken for one continuous scene across the whole object.C1 · #4793
• The label 'double-sided' should indicate decoration on both surfaces, not imply without checking that both show the same image.C1 · #4794
• If the catalogue shows a fan beside a case, let us explain whether they form a historical set or the case was chosen only for the current display.C1 · #4795
• For the workshop, let us prepare separate examples of a sewn book block and a finished cover so that participants can see which tasks concern the book's interior and which its binding.C1 · #4796
• If part of the demonstration needs a finished, dried component, let us say it was prepared earlier rather than make it seem that every stage was completed during the session.C1 · #4797
• Let us leave the stitching sample exposed before fitting the cover so that participants can also examine the thread's path from the spine side.C1 · #4798
• For a book with blank pages, let us mark the intended beginning, because once the endpaper is attached, the absence of text alone will not help establish the block's orientation.C1 · #4799
• Let us compare the two cover designs on a block of the same thickness if we want to assess their proportions rather than the difference caused by the number of leaves.C1 · #4800
• In the catalogue, let us distinguish the seal matrix from its impression so that readers know whether they see the tool used to make the mark or the mark preserved in material.C1 · #4851
• Let us mark the starting point for reading an inscription around the seal's edge, because rotating the photograph may suggest a different order of fragments.C1 · #4852
• If a graphic tracing appears beside the impression, the caption should explain that the diagram's smooth outline does not reproduce every irregularity of the original surface.C1 · #4853
• A seal attached to a document needs a view showing the attachment too if the description concerns its place within the whole object, not only the visible emblem.C1 · #4854
• Let us label the orientation of photographs of the seal matrix and its impression, especially if one image has been mirrored to make the inscriptions easier to compare.C1 · #4855
• The tangram instructions should specify whether a piece may be flipped over, not merely rotated on the table; these movements need not produce the same orientation.C1 · #4856
• If the task requires every piece, a silhouette made while leaving one out does not meet the condition even if its outer outline looks correct.C1 · #4857
• A piece's colour on the board should help identify it, but must not imply a mandatory position in the solution if the task permits other colour arrangements.C1 · #4858
• When two solutions have the same outline but different internal divisions, let us show them as two arrangements rather than remove one as a supposed duplicate image.C1 · #4859
• It is worth removing a piece's shadow from the task diagram if it could be mistaken for an extra piece that is not supplied in the set.C1 · #4860
• In the globe description, let us distinguish labels on the sphere from markings on its surrounding ring so that viewers do not look for both kinds of information on the map.C1 · #4861
• A raised area on the globe may belong to its terrain representation or be damage to this example; before explaining it, let us establish which situation we are documenting.C1 · #4862
• Let us photograph the globe with its internal light both on and off if we want to compare the visibility of its markings; captions should clearly identify the mode in each shot.C1 · #4863
• Let us not describe a globe as a map only of the continent facing the viewer; its display position selects a view but does not restrict what the whole sphere represents.C1 · #4864
• For a globe with an interchangeable base, let us state whether the dimensions refer to the sphere alone or the complete set in its current display mounting.C1 · #4865
• In the inlay diagram, colour denotes material type, not its final shade, so the key should explain this symbolic use of colours.C1 · #4866
• Let us distinguish the grain-direction arrow from the one indicating a piece's placement; otherwise, the user may read a material indication as an assembly movement.C1 · #4867
• A symmetrically repeated piece should retain its orientation mark if reversing it changes the visible grain pattern even though the outline remains similar.C1 · #4868
• If one motif consists of several pieces, its motif number should not replace the separate labels needed to link the diagram to the parts list.C1 · #4869
• A white area in the inlay design may indicate exposed backing rather than a missing piece; that distinction must be established before making the materials list.C1 · #4870
• On the shelving drawing sheet, the front and side views need clear labels so that shelf depth is not read as the whole unit's width.C1 · #4871
• If one shelf is adjustable, its position in the sample drawing should not imply the only permitted setting; let us indicate the range of the illustrated option.C1 · #4872
• Let us state the clearance between shelves between their surfaces, not between the sketch lines' centres, if viewers need to assess the space for an object.C1 · #4873
• Let us distinguish a hidden-edge line from one marking a surface division so that viewers do not order an extra part merely because of how the drawing is rendered.C1 · #4874
• Let us assign the dimensions of a corner shelving unit's two arms to the corresponding parts of the plan instead of adding them into a width suggesting one straight unit.C1 · #4875