Phrases and practice

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

Let us mark two endpapers cut from one sheet as adjoining sections so that the bookbinder can restore the pattern's continuity instead of rotating them independently.C1 · #4901
When approving the marbled-paper sample, let us establish whether we are selecting a particular sheet or merely a pattern type whose subsequent versions may differ.C1 · #4902
Let us mark the portion of the sheet folded inwards in the cover design, because the chosen main motif may end up outside the visible surface after binding.C1 · #4903
To compare pattern density, let us use sections of the same size rather than a small close-up of one sheet beside the whole of another.C1 · #4904
If the pattern repeats identically across many sheets, the description should state how they were made before we call each a unique example of hand marbling.C1 · #4905
In the sundial photograph, let us distinguish the shadow of its pointer from that of a nearby branch so that the reading commentary is not based on an incidental line.C1 · #4906
If we change the dial's position relative to the pointer during the demonstration, let us mark that intervention; viewers should know they are seeing an alignment demonstration rather than the unchanged object.C1 · #4907
Let us transcribe the inscription beside each hour line together with its position on the dial rather than sort all the numbers into an ascending sequence that loses this sundial's layout.C1 · #4908
For the portable sundial with a folding lid, let us state the position used in the demonstration, since the closed case's dimensions do not describe the arrangement of both parts.C1 · #4909
If the sundial has several scales on one dial, let us identify the scale used when describing a reading rather than choose a number merely because it lies nearest the shadow's tip.C1 · #4910
A photograph of one kaleidoscope arrangement should be described as a selected state, not as a fixed pattern every viewer will see after any rotation.C1 · #4911
If we count the objects in the kaleidoscope chamber, let us use a view of the chamber, because repeated reflections are not extra physical components.C1 · #4912
Let us retain the sequence of rotations in the demonstration recording when explaining transitions between arrangements; a selection of the prettiest frames does not reconstruct that process.C1 · #4913
When comparing two kaleidoscopes, let us not change both the chamber contents and how it is rotated if the conclusion is to concern only the difference between the sets of pieces.C1 · #4914
Before demonstrating the interchangeable chamber, let us state which set of pieces is fitted so that viewers do not attribute the colour change to rotation of the casing alone.C1 · #4915
In the diorama description, let us identify the boundary between the three-dimensional foreground and the painted background, especially when the photograph obscures how the two layers meet.C1 · #4916
If the diorama has one intended viewing point, let us mark it on the room plan rather than expect a side view to preserve all the scene's proportions.C1 · #4917
If the diorama combines a building from one period with an event from another, let us not describe the whole as one documented moment without explaining that combination.C1 · #4918
A smaller figure farther back may serve the scene's perspective, so let us not compare its size directly with a figure at the front edge.C1 · #4919
Let us distinguish a diorama with a wall opened for viewing from a version depicting a ruin, because access to the interior need not mean the building is destroyed within the scene.C1 · #4920
In the magic-lantern show, let us record slide order separately from the start of commentary so that changing the image does not interrupt a sentence still referring to the previous scene.C1 · #4921
If a moving slide changes only one part of the image, let us attribute the described movement to that part rather than to the whole scene.C1 · #4922
Let us mark slides intended for combined projection as a set so that a list of individual images does not suggest that each is a complete scene in the show.C1 · #4923
Let us not transfer a handwritten slide number into the description of the depicted street until we establish whether it marks show order or a feature within the image.C1 · #4924
When recreating the historical show, let us mark places where a slide is missing rather than join the surviving images into a sequence suggesting an uninterrupted story.C1 · #4925
Before splitting the scan of the stereo pair, let us label the image intended for each eye so that subsequent cropping does not remove the information about their order.C1 · #4951
If the photographs making up the stereo pair were taken at different times, the caption should disclose this, especially if people changed position between the shots.C1 · #4952
A flat preview of both photographs allows details to be compared, but the station description should distinguish this from viewing them in depth through a stereoscope.C1 · #4953
If the stereoscope's focus is adjusted individually, the instructions should allow each viewer to readjust it rather than treat the previous person's setting as fixed.C1 · #4954
When cropping a stereo pair for publication, let us retain corresponding areas of both photographs; two independently chosen attractive crops may no longer work when viewed together.C1 · #4955
When assembling the matryoshkas, let us match the painted pattern across both halves, because matching diameters alone do not guarantee that they belong to the same doll.C1 · #4956
In the photograph of the separated set, let us indicate which dolls were housed inside the largest one so that its empty interior is not taken as evidence of incompleteness.C1 · #4957
Let us include the smallest, non-opening matryoshka in the doll count, even though it supplies no further pair of halves to arrange on the display board.C1 · #4958
The fact that dolls from two purchases fit inside one another is insufficient to describe them as one original set; we also need a consistent provenance history.C1 · #4959
If the maker's signature is on the base of the matryoshka, let us add a separate photograph of that surface, since arranging the dolls by height may hide it completely.C1 · #4960
On the template for the pop-up element, let us distinguish the visible illustration from the gluing tab so that the maker does not trim the tab off as an unnecessary margin.C1 · #4961
Let us give the expanded structure's dimensions together with the book's opening angle, because the element's height may change as the two pages move apart.C1 · #4962
If a character is moved by pulling a slider, let us demonstrate that action separately rather than promise that opening the spread alone performs the whole animation.C1 · #4963
Let us position the explanation so that the expanded element does not obscure it; readers should not have to close the mechanism whose operation we are trying to explain.C1 · #4964
Before approving the mock-up, let us close the spread fully and reopen it, because an impressive pose arranged by hand does not prove that the elements fold correctly.C1 · #4965
Let us insert the zoetrope strip with the drawings facing inside the drum and place the demonstration label outside so that viewers do not have to read text through the slits while it spins.C1 · #4966
When checking the zoetrope loop's continuity, let us also compare the last drawing with the first, because inspecting the strip only from left to right misses its joining point.C1 · #4967
Let us fit the new drawing strip to the circumference of the particular drum rather than stretch it forcibly, because the spacing between successive images forms part of the prepared arrangement.C1 · #4968
When comparing two strips for the same zoetrope, let us state the number of motion phases on each rather than infer it solely from the printed strip's length.C1 · #4969
If a recording of the spinning zoetrope shows an apparently stationary image, let us check how it was recorded before describing this as the device itself stopping.C1 · #4970
Let us describe the key layout as belonging to this language version of the typewriter rather than treat the absence of letters from our alphabet as missing equipment.C1 · #4971
When transcribing the typescript, let us preserve the distinction between a blank line and the start of a new paragraph if the author used them to organise the text differently.C1 · #4972
On the typing sample, let us identify the character produced by two overlaid keystrokes so that the reader does not search for a single key that this machine lacks.C1 · #4973
If the bell warns that the line is nearing its end, let us leave room in the demonstration to show the remaining characters rather than stop typing at the exact moment it rings.C1 · #4974
Let us not compare one faint letter with a whole alphabet typed using a different ribbon; testing a particular key requires a sample produced under the same conditions.C1 · #4975
In the pinhole-camera demonstration, let us time the exposure from uncovering the opening rather than placing the box on the table, since a lengthy preparation may separate those actions.C1 · #5001
If a passer-by moved during the long exposure, let us describe the blurred trace as a result of movement during exposure rather than immediately treat it as damage to the paper.C1 · #5002
Beside the paper negative, let us also show its positive and indicate the tonal inversion so that participants do not explain the dark sky solely through the weather on the day.C1 · #5003
If the opening lies off-centre on the front wall, let us mark its actual position on the diagram rather than draw a symmetrical model unlike the camera used.C1 · #5004
For a camera without a viewfinder, let us prepare an approximate positioning diagram without presenting it as an exact preview of a frame that the design cannot show before exposure.C1 · #5005
For the contact cyanotype, let us note which side of the leaf faced the paper rather than assume that the visible outline also establishes how the entire specimen was positioned.C1 · #5006
If two leaves overlapped during exposure, the absence of a separate outline for one does not mean that it played no part in producing the print.C1 · #5007
Let us caption a cyanotype made from a photographic negative differently from a contact print of plants, because a leaf appearing in the image does not prove that the specimen lay directly on the paper.C1 · #5008
If the inscription is created by masking the paper with cut-out letters, the instructions should distinguish those masks from characters added in ink to the finished cyanotype.C1 · #5009
Let us label the digital cyanotype recoloured in sepia as a colour alteration of the reproduction so that viewers do not attribute the brown image to the original print.C1 · #5010
In the frottage description, let us identify which lines came from rubbing over the surface and which were drawn later, especially when the additions turn the texture into a recognisable figure.C1 · #5011
Let us record a change in shading direction during frottage separately from rotating the underlying object, because both may alter the drawing but they are different operations.C1 · #5012
Let us leave the blank area beyond the underlying object's outline visible in the workshop sample if it is meant to show the contact boundary rather than fill it with texture for visual uniformity.C1 · #5013
If the paper shifted during rubbing, let us discuss the doubled outline as a trace of that shift before looking for two corresponding edges on the underlying object.C1 · #5014
Darkening of the sample under greater pressure does not prove a deeper relief in the underlying object, so let us also inspect the actual surface when comparing its texture.C1 · #5015
Let us determine the felted case's template dimensions from a fully processed sample rather than apply an unchecked shrinkage percentage from another fibre blend.C1 · #5016
If the case was sewn from finished felt, let us describe the visible seam as a join between pieces rather than call the whole a seamless object formed from a single mass of fibres.C1 · #5017
When fitting the fastening, let us leave access to both sides of the felt if the snap requires components on the outside and inside; the decoration should not cover their mounting points.C1 · #5018
If the decoration was needle-felted onto an already felted surface, let us distinguish that stage from producing the base rather than attribute both results to one processing method.C1 · #5019
To compare wool consumption in two designs, let us state the mass of the dry portions before felting, because the volume of loose fibres also depends on how tightly they were arranged.C1 · #5020
In the paper-wheel instructions, let us identify the part that rotates relative to the page so that participants do not try to adjust it by turning the entire book.C1 · #5021
If the wheel has a reading window, let us photograph the result with that window unobstructed rather than cover it with the hand demonstrating how to grip the rim.C1 · #5022
Before assembling the replica, let us check the paper layers' order, because correctly cut parts may prevent a reading if the windowed piece is placed below the labelled layer.C1 · #5023
The wheel's central fastener should hold the layers together and permit the intended rotation; a replica immobilised after tightening does not yet demonstrate that the mechanism works correctly.C1 · #5024
Let us illustrate several settings of the movable wheel with separate photographs if one photograph conceals information revealed only by rotating the upper layer.C1 · #5025
On the linocut sample, let us show that the remaining raised surfaces transfer ink while the carved recesses leave unprinted areas; a dark drawing on the block does not yet show the result.C1 · #5051
If we have carved away a line intended to remain raised, drawing it back in pencil on the same block will not restore the printing surface; we need to decide how to revise the design.C1 · #5052
Let us prepare the lettering for a linocut with mirror reversal in mind, but avoid reversing a design again if the artist has already supplied the version intended for transfer to the block.C1 · #5053
In a reduction linocut, let us print the required number of sheets before carving the block further, since removing more surfaces prevents us from restoring the earlier state simply by re-inking it.C1 · #5054
Before deepening every groove because of a dirty impression, let us check whether the roller is applying too much ink; altering the carving and altering the inking address different problems.C1 · #5055
On the screen, let us distinguish the open mesh that allows ink through from the blocked parts of the stencil, so that the person preparing the design does not treat every visible surface as a printing area.C1 · #5056
Let us retain the registration marks on the sheets until every screenprinting pass is complete; trimming them off after the first colour would remove our reference points for the subsequent layers.C1 · #5057
If the screenprint design relies on mixing colours through transparent overlays, let us not replace one with opaque ink without a trial; a similar colour in the container does not guarantee the same overprinting effect.C1 · #5058
A missing section recurring in the same place on several screenprints calls for checking whether the mesh is blocked rather than explaining each impression through a separate accidental squeegee movement.C1 · #5059
For a screenprint on dark fabric, let us establish whether the design includes a white underbase and account for it in registration; we should not add it to the schedule as an invisible, insignificant pass.C1 · #5060
If the image is painted afresh on the plate for each monotype, a shared format and palette do not justify describing all impressions as an identical edition from one unchanged matrix.C1 · #5061
Let us describe the lighter second monotype impression from residual ink as another impression without repainting the plate, rather than present it as a separate design painted with lighter pigment.C1 · #5062
The description “print from a metal plate” is insufficient to identify an etching: if a monotype's ink was applied to a smooth surface without etching it, the plate material does not alter how the image was formed.C1 · #5063
A brush mark visible in a monotype may have been transferred from the plate, so it does not by itself prove that the artist painted directly on that sheet of paper.C1 · #5064
Let us document a monotype printed simultaneously on two adjoining sheets as one composition in two parts if that was the intention; separating the sheets does not by itself create two independent designs.C1 · #5065
Let us agree on the woven basket's base diameter separately from the width of its opening, since flaring sides can make the two measurements substantially different.C1 · #5066
The rods' colour should not be the only cue in the weaving instructions: let us distinguish the basket's structural stakes from the rods woven between them, including in a colourless printout.C1 · #5067
Let us examine the visible rod end at the basket rim in the context of the whole finish, since it may be an intended joint rather than evidence that someone stopped midway through a row.C1 · #5068
Let us describe a basket handle attached only to the upper rim and one woven into the sides as different attachment methods, even if both form the same arch in a photograph.C1 · #5069
For the basket with an oval base, let us give both the base length and width rather than one unexplained measurement; otherwise the maker may treat it as a circle's diameter.C1 · #5070
In the tablet-weaving instructions, let us specify the side from which the labels are viewed, since threading directions are ambiguous without an agreed viewpoint.C1 · #5071
Before pausing tablet weaving, let us record not only the last completed row but also the tablets' position; the row number alone will not restore the setup if the pack is turned during the break.C1 · #5072
If the pattern calls for two groups of tablets to turn in opposite directions, let us not substitute a turn of the whole pack; preserving the number of turns does not preserve how the threads twist.C1 · #5073
A full turn returns the tablets to their angular position but may leave additional twist in the unwoven warp; let us not equate the labels returning to the start with the twist being reset.C1 · #5074
Let us compare tablet-woven band widths with yarn thickness in mind, not just the number of tablets; the same number of tool elements does not determine an identical finished width.C1 · #5075