Slight

Slight (pronounced slahyt)

(1) Something small in amount, degree, etc.

(2) A small increase in something.

(3) Of little importance, influence, trivial.

(4) Slender or slim; not heavily built.

(5) Frail; flimsy; delicate; of little substance or strength.

(6) To treat as of little importance.

(7) A description of a form of deception or trickery, literal and metaphorical.

(8) To treat someone with indifference; ignore, especially pointedly or contemptuously; snub.

(9) To defame with a casual or off-hand comment; a pointed and contemptuous discourtesy; an affront.

1350-1400: From the Middle English slight (bad, of poor quality, unimportant, trivial, slender, slim, smooth, level), from the Old English sliht (smooth, level), derived from the Proto-Germanic slihtaz (smooth, plain, common).  Cognate with the Danish slet (bad, evil, poor, nasty, wrong), the Dutch slecht (bad), the Icelandic sléttur (even, smooth, level), the German schlecht (bad) & schlicht (plain, artless, natural), the Norwegian slett (even), the Low German slecht (bad) and the Swedish slät (smooth).  The early fourteen century sense of “flat, smooth” is thought to come from a Scandinavian source akin to the Old Norse slettr (smooth, sleek), derived from the Proto-Germanic slikhtaz (smooth).  It also mean “plain or common” as in the Old Saxon slicht, the Low German slicht and the Old English sliht (level) is documented as as eorðslihtes (level with the ground).  Related too are the Old Frisian sliucht (smooth, slight), the Middle Dutch sleht (even, plain) the Old High German sleht, the Gothic slaihts (smooth), all thought most likely ultimately derived from a collateral form of the primitive sleig (to smooth, glide, be muddy) from the root slei (slimy).

In the (sometimes) organic way of English, from the original meaning(s) “plain, smooth, common, level”, there emerged in the 1520s “small amount or weight” and, in the 1590s, the adjectival sense of “having little worth”.  The meaning "act of intentional neglect or ignoring out of displeasure or contempt" is from 1701, almost certainly from the seventeenth century phrase “to make a slight of”, first attested in 1608.  Interestingly, in German, schlecht likewise developed from "smooth, plain, simple" to "bad, mean, base," and as it did it was replaced in the original senses by schlicht, a back-formation from schlichten (to smooth, to plane), a derivative of schlecht in the old sense.  In English, the original meaning went extinct.  Slight, slightness & slighting are nouns, verbs & adjectives, slighten is a verb, slighted is an adjective & verb, slightful, slighty, slighter, slightest & slightish are adjectives and slightingly & slightly are adverbs; the noun plural is slights.

A slight Lindsay Lohan during her "thin phase", early in the third millennium.  Note the fine ribcage definition.

Slights: Boris on crooked Hillary Clinton and others

Few have managed so often to slight so many as former UK prime minister Boris Johnson (b 1964; UK prime-minister 2019-2022) and unusually, those best remembered tend to be where the victim was friend rather than foe.  It should be noted that when referring to Mr Johnson having friends, the word is used in a specific technical sense, vaguely similar to the form pioneered by Facebook.

Long before there was Crooked Hillary, there was Hillary Clinton (b 1947; US secretary of state 2009-2013) and she had been promised the Democratic Party nomination for the 2008 presidential election.  It had all been fixed up at head office "and the middle-class was quite prepared" but her 1990s style campaign fell apart.  Johnson had tried to help.  In November 2007, writing in his Daily Telegraph column, he endorsed Clinton as candidate, helpfully adding… “She's got dyed blonde hair and pouty lips, and a steely blue stare, like a sadistic nurse in a mental hospital."  “Clinton…” he continued, had done the job of First Lady like "…Lady Macbeth, stamping her heel, bawling out subordinates and frisbeeing ashtrays at her erring husband."  Actually, it was the husband (Bill Clinton (b 1946; US president 1993-2001)) he wanted back in the White House.  "For all who love America, it is time to think of supporting Hillary, not because we necessarily want her for herself but because we want Bill in the role of First Husband." he concluded.

Years later, in mid-2016, confident Donald Trump (b 1946; US president 2017-2021) would never become president, Johnson said Trump was "clearly out of his mind" and his "ill-informed comments are complete and utter nonsense...", accusing him of "stupefying ignorance".  He finished by saying "…the only reason I wouldn't go to some parts of New York is the real risk of meeting Donald Trump".

Another head-of-state slighted was Recep Tayyip Erdoğan (b 1954; prime-minister or president of the Republic of Türkiye since 2003).  Upset about the lawsuit brought by Mr Erdogan against a German comedian who recited a poem the president found insulting, the conservative weekly The Spectator ran a competition to find who could write the most offensive poem about the president.  Johnson won, his entry an ode to Mr Erdogan enjoying intimacy with a goat.  The president met Mr Johnson in 2016 during his brief stint as foreign secretary; the two seemed to get on well.

Slights can be avoided with a little luck.

World War II (1939-1945) veteran George HW Bush (1924–2018; US President (George XLI 1989-1993)) would have remembered Winston Churchill's (1875-1965; UK prime-minister 1940-1945 & 1951-1955) wartime "V for victory" sign and that’s the meaning the gesture gained in the US.  Unfortunately he wasn’t aware of the significance of "the forks" in the antipodes: when given with the palm facing inwards, it’s the equivalent to the upraised middle finger in the US.  On a state visit to Australia in 1992, while his motorcade was percolating through Canberra, he made the sign to some locals lining the road.  What might have been thought a slight worked out well, the crowd lining the road cheering the gesture which must have been encouraging.  That same day, the president gave a speech advocating stronger efforts “to foster greater understanding” between the American and Australian cultures. The Lakeland Ledger, reporting his latest gaffe, wrote, “...wearing mittens when abroad would be a beginning”.

Entasis

Entasis (pronounced en-tuh-sis)

(1) In architecture, a slight convexity given to a column or tower, as to correct the optical illusion of concavity and create the perception of straight lines.

(2) In medicine and physiology, an involuntary or spasmodic muscular contraction (also called entasia (from the Greek ɛnˈteɪzɪə)).

(3) In typography & calligraphy, the thinning in the waist of a stroke, the technique used to compensate for the visual perception of a stroke with perfectly straight sides appearing slightly to bulge.

1745–55: From the Latin entasis, from the Ancient Greek ἔντασις (éntasis) (tension, straining), from εντείνω (enteínō) (to stretch or strain tight), the construct being enta, variant stem of enteínein (to stretch tight) + teínein (to stretch) + sis.  The –sis suffix was from the Ancient Greek -σις (-sis) and was attached to words in English often via Latin or French.  It was identical in meaning with the Latin –entia and the English –ing and was used (1) to form nouns of action or process (catharsis, dialysis, diagnosis, crisis etc), (2) in medicine to form nouns of condition (psoriasis, sepsis, tuberculosis, psychosis etc) and more generally (3) nouns as required (basis, oasis, thesis, stasis etc).  Entasis is a noun; the noun plural is entases.

The Entasis or Parthenon Principle

Parthenon in Athens.

In modern architecture, entasis is the application of a convex curve to a surface for aesthetic purposes.  Its best-known use is in the columns from antiquity which curve slightly as their diameter is decreased from the bottom upward.  Because no relevant documents have yet been discovered, it’s not known whether the architects in antiquity applied the technique for aesthetic effect or as an engineering technique to enhance strength.  The latter is suggested by the design principle being described by Roman architect Marcus Vitruvius Pollio (circa 75 BC–circa 20 BC) using the Greek word enteino meaning "to stretch or strain tight", suggesting some emphasis on structural strength rather than appearance.  However, until contemporary records are uncovered, their reasons for using entasis remain mysterious, hence the two-thousand odd years of conjecture.  The most celebrated construction is the Parthenon in Athens.

1964 Rolls-Royce Silver Cloud III Flying Spur; coachwork by HJ Mulliner Park Ward.

The earliest known documented view of the matter was that written by Greek mathematician and engineer Hero of Alexandria (circa 10-circa 70), is that entasis corrects the optical illusion of concavity in the columns that the human eye would create if the correction were not made.  That’s the reason Roll-Royce have always used a variation of the  technique in their upright grilles; it’s to make it appear as if built with columns of identical dimensions.

Basilica's western front of the Second Temple of Hera, a Greek temple in Paestum, Campania, Italy.

The Second Temple of Hera was built in the Doric order circa 455 BC, just north of the first.  For the visual effect of entasis to work, the convex curve has to be so slight as to be imperceptible and it's not known why the Second Temple of Hera has an entasis so pronounced it creates an obvious curvature, not an illusion of straightness.  The proportions are such that historians have speculated it must have been deliberate, presumably purely for structural strength but it's at least possible the architect was afflicted by the desire many of his modern contemporaries share: The wish to produce something "original" and "new", the reason why so many modern buildings are so unpleasing to the eye.

Lindsay Lohan in Rolls-Royce Phantom Drophead Coupé (2007-2017).  By the 1970s factory (mostly) had ceased to use the historic terms FHC (Fixed-Head coupé) and DHC (Drop-Head Coupé (DHC) although and the revival in 2007 for the Phantom Drophead Coupé proved (thus far) a nostalgic one-off.

Over the decades, the designers generally were successful in their adaptations as they were required to make the grille wider and lower but the Phantom would have benefited aesthetically if a more traditional approach had been taken with the headlamps (centre) and even hidden units (right) would have been more pleasing.  Still, twenty-first century customers seem more accommodating of stylistic innovation than earlier generations.  In 1975, when the Camargue (1975-1986) was released, the novelty of it being the first Rolls-Royce designed using exclusively metric measurements (except for the odd carry-over component) attracted little attention but there was much comment about it being the first built with anything but a perfectly vertical grille.  The Camargue's grille was slanted at a (for mid-century Rolls-Royce) rakish 7^o.

The Pantheon Temple, Rome (left) and 1985 Rolls-Royce Camargue (right).

The Pantheon's Latin inscription M·AGRIPPA·L·F·COS·TERTIVM·FECIT actually isn't all that poetic and reads like a note the draftsman might have put on the blueprint (had there then been blueprints): it translates as "Marcus Agrippa, son of Lucius, made [this building] when consul for the third time.", crediting the Roman statesman & general, Marcus Vipsanius Agrippa (circa 63 BC–12 BC) who originally commissioned the construction during his third consulship in 27 BC.  The Pantheon that stands today was rebuilt by Emperor Hadrian (Publius Aelius Hadrianus, 76–138; Roman emperor 117-138) circa 126 AD after the original structure suffered severe damage in a blaze.  Hadrian chose to retain Agrippa's inscription as a tribute (not all the emperors were narcissists).  Since AD 609, the Pantheon has been a Roman-Catholic church and is known as the Basilica Santa Maria ad Martyres (Basilica of St. Mary and the Martyrs).

Despite the popular perception, what Rolls-Royce describes as their "Pantheon grill" doesn't feature a classic entasis (slight swelling in the middle of a column to counteract the illusion of concavity), the design does incorporate a similar visual effect: there is a (very) slight curvature which in the factory's vernacular is known as the "waftline".  Although there are, understandably, many references to the grill being the "Parthenon grill" (and there is a well-reviewed Greek restaurant in Murfreesboro, Tennessee called the Parthenon Grille), the factory has never used the term and say the designed was inspired by "Rome’s imposing Pantheon temple", a structure "...purposefully built with wider middle sections so the human eye perceives each long pillar to be completely straight."  What the architects of Antiquity did was use use an optical illusion as a "corrective" to achieve perfect visual symmetry and the Rolls-Royce engineers replicated the approach, the grill's columns wider towards the edges.  The waftline is used elsewhere, notably the gentle, upswept sweep along the sill-line which Rolls-Royce says "creates a powerful, poised stance and makes the car appear to be moving when stationary...", creating the impression of "calm perfect motion and accelerating quickly without fuss".  They clearly like the word "waft" because they coined the neologism "waftability" which is said to be "the essence of the brand".

The math of entasis.

Draft

Draft (pronounced drahft)

(1) An initial drawing, sketch, or design.

(2) A first or preliminary form of any writing, subject to revision.

(3) The act of drawing; delineation.

(4) A current of air in any enclosed space, especially in a room, chimney, stove or through a door or window frame; a current of air moving in an upward or downward direction.

(5) A device for regulating the current of air in a stove, fireplace etc.

(6) The act of drawing or pulling loads; something that is drawn or pulled; a haul; an animal or team of animals used to pull a load.

(7) The force required to pull a load; in rail transport, the pulling force (tension) on couplers and draft gear during a slack stretched condition.

(8) The taking of supplies, forces, money etc, from a given source.

(9) A selection or drawing of persons, by lot or otherwise, from a subset of the population; levy; conscription or the persons so selected; in professional sport, the selecting or drawing of new players from a choice group of amateur players by professional teams, especially a system of selecting new players so that each team in a professional league receives some of the most promising players.

(10) In military use, a selection of persons already in military service to be sent from one post or organization to another; detachment.

(11) A written order drawn by one person upon another; a writing directing the payment of money on account of the drawer; bill of exchange; A drain or demand made on anything.

(12) As draft beer, a type drawn from a keg or barrel rather than glass or can.

(13) Something that is taken in by drinking or inhaling; a drink; dose.

(14) A quantity of fish caught; the catch or haul (archaic).

(15) In admiralty use, the depth to which a vessel is immersed when bearing a given load.

(16) In Metallurgy, the slight taper given to a pattern so that it may be drawn from the sand without injury to the mold; also called leave.

(17) In steel fabrication, the change in sectional area of a piece of work caused by a rolling or drawing operation.

(18) In stone masonry, a line or border chiseled at the edge of a stone, to serve as a guide in leveling the surfaces.

(19) In the production of textiles, the degree of attenuation produced in fibers during yarn processing, expressed either by the ratio of the weight of raw to the weight of processed fiber, or by the ratio between the varying surface speeds of the rollers on the carding machine.

(20) An allowance granted to a buyer for waste of goods sold by weight.

(21) Ad drafting, in cycling & motorsport, to drive or ride close behind another car so as to benefit from the reduction in air pressure created behind the car or bike ahead; also called slipstreaming.

(22) In hydrology, the divergent duct leading from a water turbine to its tailrace.

(23) To separate a group of livestock from the rest of the herd (Australia & NZ).

(24) In apothecarial use, a measured portion of a liquid or aerosol medication; a dose.

(25)In politics, a system of forcing or convincing (at least nominally unwilling) people to take an elected position.

(26) A checker: a game piece used in the game of draughts.

(27) In medicine, a mild vesicatory (UK, obsolete).

(28) An outhouse: an outbuilding used as a lavatory (obsolete).

(29) In pre-modern military use, a sudden attack upon an enemy (obsolete).

Circa 1500: A spelling variant of the Middle English draught, from Old English dræht, related to dragan (to draw, drag), from Proto-Germanic drahtuz, noun form of draganą.  Root in English is draw, from the Middle English drawen, draȝen, dragen, from Old English dragan (to draw, drag, pull”), from Proto-Germanic draganą, from the primitive dreǵ (to draw, pull).  It was cognate with the West Frisian drage, the Dutch dragen, the German tragen (to carry), the Danish drage, the Albanian dredh (to turn, spin), the Old Armenian դառնամ (daṙnam) (to turn) and the Sanskrit ध्रजस् (dhrájas) (gliding course or motion).  Draught is a variant spelling of draft and is normally pronounced the same way (draft or drahft or with a vowel somewhere between “a” and “ah”). The pronunciation drawt is sometimes heard for draught, perhaps because “aught” is frequently pronounced awt elsewhere, as in caught and taught.

Caught in the draft:  A Lindsay Lohan wardrobe malfunction, MTV Movie Awards, 2008.

The emergence of draft circa 1500 reflected a change in pronunciation although both it and draught are now pronounced the same.  The meanings "rough copy of a writing" and “something drawn" is attested from the fourteenth century; that of "preliminary sketch from which a final copy is made" is from the 1520s; that of "flow of a current of air" was first noted circa 1770.  The descriptor of a type of beer is from the 1830s, in reference to the method of "drawing" it from the cask.  As applied to a bank draft, later extended to bills of exchange, meaning emerged in 1745. The meaning "a drawing off a group for special duty" is from 1703 and applies especially to military service; the verb in this sense first recorded 1714.  Related forms are the adjectives draftable, undraftable, undrafted & antidraft, the nouns drafter & redraft (also a verb) and the verb redraft.

Except in the US and places which have adopted US English, draft and draught seem now to be alternative spellings and while the old distinctions of use remain technically correct, modern practice appears to be to use them interchangeably.  Draft almost universal in American English and draught persists elsewhere for purposes where the historical association is most strong (draught horse, draught beer etc).  Draftee (person conscripted for military purposes) dates from 1864 in US English, the adjectival homophone drafty (exposed to drafts of air) is from the 1580s, draftiness a few years later.  Updraft (US) and updraught (rising air current) is from 1909, one of a rush of words created or adapted from others to serve the new field of aviation.  Draftsman (one who draws or prepares plans, sketches, or designs) is from the 1660s, a variant of the earlier draughtsman.  In finance, overdraft (action of overdrawing an account) dates from 1841 and by 1891 the meaning had extended to "amount by which a draft exceeds the sum against which it is drawn".  Unrelated was the use by 1884 of overdraft to describe “a draft of air passing over, but not through, the ignited fuel”, a use applied to ovens & furnaces.

Draught (act of pulling or drawing; quantity of liquid that one drinks at a time), the source of all this dates from circa 1200, from the Old English dreaht & dræht and related to dragan (to draw, drag).  The oldest recorded sense besides that of "pulling" is of "drinking", one suggestion being the idea of "so much as is drawn down the throat at once", a similar relationship drag has to the act of inhaling from a cigarette.  Draught is attested from circa 1300 as having some connection with "that which is drawn or written" although it seems clear the original meaning referred to writing in general, not “first draft” as is now understood.  In the UK, more than anywhere else, draught retains the functions (horses, beer etc) that did not branch off with draft.

Catching the draft, the Mercedes-Benz of Valtteri Bottas & Lewis Hamilton, Italian Grand Prix qualifying, Monza, September 2020.

In motorsport, drafting (also called slipstreaming) is a driving technique which exploits being in the slipstream of the vehicle to reduce the drag suffered by one’s own vehicle.  As a general principle, the higher the speeds involved, the lower the average energy expenditure required to maintain a certain speed.  Because it can have the effect also of reducing the turbulence between the vehicles, it can also offer a slight advantage to the lead vehicle.  The advantage gained in reducing the energy expenditure manifests as reduced fuel consumption which can be a strategic advantage but the most dramatic effect of “catching the draft” is the so-called “slingshot effect” whereby a vehicle coming out of the slipstream can use the conserved power to pass the vehicle it’s been deliberately following.

Six-Pack: Three drafters and three draftees drafting, Daytona 500, Daytona Beach, Florida, 2011.

The technique began to be well-understood in the 1960s but wasn’t without risk.  A vehicle of one shape could produce a different slipstream than another and at high-speed, slight differences can have a pronounced effect, the results for the trailing car unpredictable.  Additionally, sitting in the draft, enjoying the lower wind-resistance, although it allowed a higher speed to be attained, also meant a reduction in down-force and consequent instability.  The advantages and dangers are best illustrated on the faster oval speedways used by NASCAR.  On the straights, two or more vehicles will race faster when aligned front-to-rear than a single car, the low-pressure wake behind the leading car reducing the aerodynamic resistance on the front of the trailing car allowing the second car to pull closer.  As the second car nears the first it pushes high-pressure air forward so less fast-moving air hits the lead car's spoiler.  The result is less drag for both cars, allowing faster speeds.  On curves however, the load on one side of the car is higher, this accentuated by changes caused by the draft: the leading car has normal front downforce but less rear downforce.  The trailing car has less front downforce but normal rear downforce.  In a group of three or more, the vehicles with drafting partners both ahead and behind will lose downforce front and rear.

Firecracker 400, Daytona Beach, Florida, 1974.

In NASCAR’s 1974 Firecracker 400, the lead changed forty-five times, a record which would stand until 2010 and it’s remembered also for one of the sport’s most audacious uses of drafting.  As he was about to start the final lap, David Pearson (1973 Mercury #21) feigned engine troubles by slowing and dropping low on the track, forcing the slipstreaming Richard Petty (1974 Dodge #43) to swerve into the lead.  Person then was able to sit in Petty’s slipstream, drafting past on the final corner to win the race.  Petty’s reaction, recorded in the press box after the race, was so memorable it was transcribed and published in next morning’s Orlando Sentinel.

Tincture

Tincture (pronounced tingk-cher)

(1) In pharmacology, a solution of alcohol or of alcohol and water, containing animal, vegetable, or chemical drugs (an alcohol solution of a non-volatile medicine (obsolete)).

(2) A slight infusion, as of some element or quality; the dipping of something into a liquid to gain to color.

(3) A trace; a smack or smattering; tinge.

(4) In heraldry, any of the colors, metals, or furs used for the fields, charges etc, of an escutcheon or achievement of arms.

(5) A pigment or other substance that colours or dyes; specifically, a pigment used as a cosmetic (obsolete).

(6) To impart a tint or color to; tinge.

(7) To imbue or infuse with something.

(8) A slight flavour, aroma, or trace

(9) In medicine as "tincture of steel", an alcoholic solution of the chloride of iron (obsolete).

(10) A small flaw, an imperfection; a blemish or stain (now rare except as a literary device).

(11) In Christianity, a synonym of baptism (based on the idea of being "dipped into or sprinkled with Holy Water". 

(12) A (small) alcoholic drink (used humorously).

(13) In alchemy, an immaterial substance or spiritual principle which was thought capable of being instilled into physical things; also, the essence or spirit of something; a material essence thought to be capable of extraction from a substance.

(14) In chemistry, the part of a substance thought to be essential, finer, and/or more volatile, which could be extracted in a solution; also, the process of obtaining this.

1350-1400: From the Late Middle English tincture (dye, pigment; colour, hue, tint; process of colouring or dyeing; medicinal ointment or salve (perhaps one discolouring the skin); use of a medicinal tincture; (alchemy) transmutation of base metals into gold; ability to cause such transmutation; substance supposed to cause such transmutation)), the construct being the Latin tīnct(ūra) (act of dyeing) + the Middle English -ure (the suffix indicating an action or a process and the means or result of that action or process).  The construct of tīnctūra was tīnc(tus) (coloured, tinged; dipped in; impregnated with; treated”) + -tūra (the suffix forming action nouns expressing activities or results) while tīnctus was the perfect passive participle of tingō (to colour, dye, tinge; to dip (in), immerse; to impregnate (with); to moisten, wet; to smear), ultimately from the primitive Indo-European teng- (to dip; to soak), (source also of the Old High German dunkon (to soak) and the Greek tengein (to moisten).  It was cognate with the Ancient Greek τέγγω (téngō) and from the Latin Modern English has picked up tint, taint and tainture (an obsolete synonym of tincture).  Tincture is a noun & verb, tinct, tincturation, tincturing & tinction are nouns, verbs & adjectives, tinctured is a verb & adjective, tinctorial & tinctorious are adjectives and tinctorially is an adverb; the noun plural is tinctures.  The noun tinctura is listed by most dictionaries as obsolete but it is still in use poetically.

The fifteenth century use by apothecaries to refer to medicinal ointments (the assumption by historians this use was associated particularly with those used to discolor the skin or from being imbued with the essential principles of the substance).  In pre-modern medicine the meaning lingered, the idea of a tincture being a “solution of medicine in a mixture of alcohol” recorded in the professional texts in the 1640s.  In fashion, parchment preparation and then still rare applications such as wallpaper, the word was used to describe a “process of coloring" from early in the fifteenth century.  The verb was derived from the noun and came into use in the 1610s in the sense of “imbue with color”.  Tincturation (preparation of a tincture) was in use by the mid nineteenth century while tinction has been used to mean “preparation for dyeing, coloring matter ready for use” since the 1890s.

Not following the rules: The Lohan family crest.

In heraldry, the “rule of tincture” (described as “a design philosophy”) is the convention “metal should not be put on metal, nor colour on colour”.  There appears to be no historical basis for the emergence of this rule in the early fifteenth century and the favored modern explanation is that imposing it simply made it easier for the craftsmen of the era, it being technically challenging to inlay metals in metals, the practical point being a high wastage rate of expensive materials (the client paying only for the finished product).  However, the rule took hold rather in the manner the strictures in some religions (such as prohibitions on the consumption of shellfish or pig products) began as public health measures in the pre-refrigeration age endured to become orthodox articles of faith.  Centuries later, although the application of the “rule” began to be relaxed, such was the enduring influence that artisans' guilds formally codified a list of “exemptions” from the rule.

Meaning shift

The historic meaning of tincture (a synonym for dye or pigment) is now entirely obsolete; a tincture is now a subtle shade, tint or variation of an original colour or a smattering of another.  It can be applied to any field vaguely analogous such as tastes or aromas and can be used pejoratively to suggest someone’s knowledge of something might be less than advertised.  It has also found a niche is recipes printed in up-market publications as a word to use instead of "hint".

Lindsay Lohan tinctures: copper and auburn variations of red.

The Dendrobates tinctorius “Giant Orange” (the common name the "Dyeing Poison Dart Frog" (based on the early belief natives used brightly colored frogs to dye feathers & fabrics)).  Described by retailers as a “great beginner frog” (the reason for that presumably understood by collectors) and “best kept in pairs”, the RRP (recommended retail price) is US$59.99.

The adjective tinctorious dates from the late eighteenth century and appears first to have been used of colorful plants.  Even in horticulture it has become rare but an echo survives in the Dendrobates Tinctorius, a frog much prized by collectors and photographers for its striking colors and patterns.  Unsurprisingly referred to usually as "tincs" (the standard abbreviation of "tincture") Dendrobates Tinctorius is one of the largest species of poison dart frogs, although in global terms still hardly large, the largest some 2 inches (50 mm) length. They are native to the rainforests of South America and appear in dramatic color combinations including hues of blue, black, yellow and orange.  They can safely be kept by hobbyists because in captivity they're not poisonous, their toxicity in the wild by virtue of their preferred diet of small invertebrates, not consumed in a captive environment.  Prices of adults in the most desired color mixes can exceed US$120.

Sketch

Sketch (pronounced skech)

(1) A simply or hastily executed drawing or painting, especially a preliminary one, giving the essential features without the details, later to be elaborated.

(2) A rough design, plan, or draft, as of a book.

(3) A brief or hasty outline of facts, occurrences etc.

(4) As thumbnail sketch, a piece of text which summaries someone or something.

(5) A short, usually descriptive, essay, history, or story.

(6) A short play or slight dramatic performance, as one forming part of a variety or vaudeville program; a short comedy routine (a skit).

(7) To make a sketch.

(8) To summarize, to set forth in a brief or general account.

(9) In metallurgy, to mark a piece of metal for cutting.

(10) In music, a short evocative instrumental piece, used especially with compositions for the piano.

(11) In the slang of the Irish criminal class, as “to keep (a) sketch), to maintain a lookout; to be vigilant; watch for something.

(12) In journalism, as parliamentary sketch, a newspaper article summarizing political events which attempts to make serious points in a lest than obviously serious manner (mostly UK).

(13) In category theory, a formal specification of a mathematical structure or a data type described in terms of a graph and diagrams (and cones (and cocones)) on it. It can be implemented by means of “models” (functors) which are graph homomorphisms from the formal specification to categories such that the diagrams become commutative, the cones become limiting (ie products) and the cocones become colimiting (ie sums).

1660–1670: From the Dutch schets (noun), from the Italian schizzo, from the Latin schedium (extemporaneous poem), noun use of neuter of schedius (extempore; hastily made), from the Ancient Greek σχέδιος (skhédios) (made suddenly, off-hand, unprepared), from σχεδόν (skhedón) (near, nearby), from ἔχω (ékhō) (I hold).  The German Skizze, the French esquisse & the Spanish esquicio are also from the Italian schizzo.  Sketch,  sketcher, sketchist & sketchiness are nouns, verb & adjective, sketching is a noun & verb, sketched is a verb, sketchlike, sketchy, sketchier, sketchiest & sketchable are adjectives, and sketchily & sketchingly are adverbs; the noun plural is sketches.  When a sketcher (or sketchist) sketches their sketches, they appear often in a sketchbook.

Six photographs of Lindsay Lohan, rendered in software as pencil sketches.

Sketch became a verb in the 1660s in the sense of “present the essential facts of" and was derived from the earlier noun. This idea of a sketch as a “brief account” by 1789 had enlarged to a "short play or performance, usually comic", still maintaining the connection from art as something less than full-scale, the reference to comedy suggesting something slight rather than a serious work.  The sketch-book was first recorded in 1820.  That sense extended beyond text to art and design from 1725 when it came also to mean "draw, portray in outline and partial shading", firstly to describe simple drawings, referring later to preparatory work for more elaborate creations.  The adjective sketchy is noted from 1805, describing art “having the form or character of a sketch".  The colloquial sense of "unsubstantial, imperfect, flimsy" is from 1878, possibly to convey the sense of something "unfinished".  Adumbrate (faint sketch, imperfect representation), actually pre-dates sketch, noted first in the 1550s.  It was from the Latin adumbrationem (nominative adumbratio) (a sketch in shadow, sketch, outline).  The meaning "to overshadow" is from the 1660s at which time emerged the derived forms adumbrated and adumbrating and related forms are adumbration (noun), adumbrative (adjective) and adumbratively (adverb).

Sketches by “Boz,” Illustrative of Every-day Life and Every-day People by Charles Dickens (1812-1870), illustrated by George Cruikshank (1792–1878).

Charles Dickens' first book, Sketches by “Boz” was a collection of 56 short pieces, originally published in various newspapers and other periodicals between 1833-1836. They were re-issued in a two-volume set in 1836 with a single edition appearing in 1839.  Very different from the work with which Dickens most is associated, the theme of 56 sketches was the people and scenes of London (the built environment best understood also as a “character” in the narratives.  Divided into four sections (Our Parish, Scenes, Characters & Tales), the first three contained non-narrative pen-portraits while the final wholly was fictional.  In Sketches by “Boz”, there are passages which constitute classic “thumbnail sketches” (in literature, concise, vivid descriptions (classically in a single paragraph of no more than a few sentences) that captures the fundamental essence, appearance, or personality of a character, setting or scene).  The term was a borrowing from the visual arts, where a thumbnail sketch was a quickly composed, rough drawing to map out an idea, the notion being it looked “sketchy enough to have been drawn by the artist's thumb”.  In both graphics and text, the shared definition was an entire concept rendered by the depiction of its most recognizable and striking elements with no extraneous detail.

The sketch (a short, often topical comedic performance) quickly became a staple of television variety shows and such productions have (thankfully) declined in number, the format is still used.  In literary theory, there are two basic categories of sketch: (1) a short prose piece (perhaps between one to two thousand words) which tends to be of the descriptive kind once most associated with newspapers and magazines (and still often appearing in the latter).  In newspapers, one notable survivor is the “parliamentary sketch” in which some (often anecdotal) “color” is added to political reporting.  A feature of British political journalism since the 1700s when the reporting of the antics of politicians was more restricted (to avoid the truth being told about the lies they told, that strategy seen still in the laws of defamation in some jurisdictions), many of the early parliamentary sketches used pseudonyms for those described and the art of a fine sketch writer was providing just enough for the well-informed reader to “read between the lines”.  In literary use, because of the nature of the form, stylistically some sketches could overlap with the short story and there's is little point attempting to be prescriptive about where one ends and the other begins; the classic example of a sketch was Charles Dickens's Sketches by "Boz", a series of sketches of life and manners.  (2) A brief dramatic piece of the kind one might find in a revue or as a curtain raiser or as part of some other kind of theatrical entertainment, exemplars being Harold Pinter's (1930-2008) Request Stop, Last to Go & Special Offer, performed in the revue Pieces of Eight, which opened at the Apollo Theatre, London, in September 1959.  For better or worse, ambitious monologists including Ruth Draper (1884-1956) and Joyce Grenville (1910-1979) extended the concept of the sketch into a particular dramatic form described as "a kind of monodrama".  Nor were sketches dependent on oral delivery, the solo mime artist Marcel Marceau (1923-2007) sometimes referring to his performances as un sketch dramatique (a dramatic sketch).

Sketches of Spain

Although not yet regarded as the landmark in jazz it would come to be in the decades which followed its release in 1959, even in 1960 Miles Davis’s (1926-1991) Kind of Blue had already created among some aficionados an expectation; realising it was something special, this was what they hoped would be the definitive Davis style and they were anxious for more.  The next release however, wasn’t indicative of what was to come, Workin' with the Miles Davis Quintet (1960 Cat# Prestige P-7166) was the third of four albums assembled from sessions recorded long before the Kind of Blue sessions and released to fulfil contractual obligations to the independent label Prestige.  Although some purists were pleased, after Kind of Blue, the music seemed old-fashioned.

Miles Davis, Kind of Blue, (1959, Columbia, Cat# CS 8163).

Davis had enjoyed considerable success in the 1950s but, needing the distribution and promotional network of a major label to reach a wider audience, he’d signed with Colombia (CBS internationally).  The early Colombia releases had been well received but it was the sixth, Kind of Blue, which made him a star beyond the world of jazz, the album selling in volumes unprecedented in the genre; to date, over four million copies are said to have been shipped.  Davis had been innovative before, his performance at the 1954 Newport Jazz Festival defining what had come to be called “hard bop” (a flavor of jazz influenced by other forms, especially rhythm and blues) but the appeal extended little beyond already established audiences.  What made Kind of Blue so significant was that Davis effectively invented modal jazz which shifted the technique from one where the players worked within a set chord progression to soloists creating melodies using modes which could be deployed alone or in multiples.  Musicians explain the significance of this as a movement to the horizontal (the scale) rather than the traditional vertical (the chord).  In the somewhat insular world of jazz, that would anyway have been interesting but the sound captivated those beyond and was a landmark in what would come to be known as musical fusion, the cross-fertilisation of sound and technique.  Among composers, fusion was nothing new but Kind of Blue realised its implications in a tight, seductive package.

Miles Davis, Sketches of Spain, (1959, Columbia, Cat# CS 8271).

Sketches of Spain too was a fusion but it was different to what had come before and was no attempt to be "Kind of Blue II".  For one thing, the sound was big, recorded in the famously cavernous converted church in Manhattan which for decades was Colombia’s recording studio.  Lined with old timber and with a ceiling which stretched 100 feet (30 m) high, technicians called it the “temple of sound” because of the extraordinary acoustic properties.  The ensemble too was big, a necessity because this time the fusion was with the orchestral, the long opening track an arrangement by Davis and Gil Evans (1912-1988) of the adagio movement of Joaquín Rodrigo’s (1901-1999) guitar concerto, Concierto de Aranjuez  (1939).  Such was the extent of the fusion there were traditionalists who doubted Sketches of Spain could still be called jazz; they saluted the virtuosity but seemed to miss the sometimes arcane complexities in construction inaccessible except to the knowing few.

Miles Davis, Bitches Brew (1970, CBS, Cat# S 66236).

The wider world however was entranced and technical progress needs also to be noted.  Colombia had recorded Davis before in the then still novel stereo but even fans acknowledged the mono pressings remained superior and it wasn’t until 1960, after extensive testing and the refinement of equipment that the technique had been perfected.  Sketches of Spain was lush or austere as the moment demanded, listeners new to stereo especially enchanted at being able to hear the sounds hanging in a three-dimensional space, each instrument a distinct object in time and place.  Nobody asked for mono after that.  Influential as it was, to Davis, Sketches of Spain was just another phase.  Ten years later, noting the increasingly sparse audiences in jazz clubs and aware a new generation had different sensibilities, Davis would fuse with other, more recent traditions and Bitches Brew would cast his shadow over a new decade.  A footnote to the change of direction Bitches Brew flagged came with the release of material from Davis's performance at the Isle of Wight Festival (1970) which included, inter alia, a 17 minute passage substantially from the album.  Noting the discursiveness, producers from Columbia contacted Davis and asked him what the piece should be titled.  "Call it anything" he told them, repeating the answer he'd given to the musicians at the Festival who had asked him what he was about to play.  Liking that, Colombia's literalists included the track Call it Anything when the album The First Great Rock Festivals of the Seventies (1971) was released.