Welcome to the Gutenberg Editor

Of Mountains & Printing Presses

The goal of this new editor is to make adding rich content to WordPress simple and enjoyable. This whole post is composed of pieces of content—somewhat similar to LEGO bricks—that you can move around and interact with. Move your cursor around and you’ll notice the different blocks light up with outlines and arrows. Press the arrows to reposition blocks quickly, without fearing about losing things in the process of copying and pasting.

What you are reading now is a text block the most basic block of all. The text block has its own controls to be moved freely around the post…

… like this one, which is right aligned.

Headings are separate blocks as well, which helps with the outline and organization of your content.

A Picture is Worth a Thousand Words

Handling images and media with the utmost care is a primary focus of the new editor. Hopefully, you’ll find aspects of adding captions or going full-width with your pictures much easier and robust than before.

Beautiful landscape
If your theme supports it, you’ll see the “wide” button on the image toolbar. Give it a try.

Try selecting and removing or editing the caption, now you don’t have to be careful about selecting the image or other text by mistake and ruining the presentation.

The Inserter Tool

Imagine everything that WordPress can do is available to you quickly and in the same place on the interface. No need to figure out HTML tags, classes, or remember complicated shortcode syntax. That’s the spirit behind the inserter—the (+) button you’ll see around the editor—which allows you to browse all available content blocks and add them into your post. Plugins and themes are able to register their own, opening up all sort of possibilities for rich editing and publishing.

Go give it a try, you may discover things WordPress can already add into your posts that you didn’t know about. Here’s a short list of what you can currently find there:

  • Text & Headings
  • Images & Videos
  • Galleries
  • Embeds, like YouTube, Tweets, or other WordPress posts.
  • Layout blocks, like Buttons, Hero Images, Separators, etc.
  • And Lists like this one of course 🙂

Visual Editing

A huge benefit of blocks is that you can edit them in place and manipulate your content directly. Instead of having fields for editing things like the source of a quote, or the text of a button, you can directly change the content. Try editing the following quote:

The editor will endeavor to create a new page and post building experience that makes writing rich posts effortless, and has “blocks” to make it easy what today might take shortcodes, custom HTML, or “mystery meat” embed discovery.

Matt Mullenweg, 2017

The information corresponding to the source of the quote is a separate text field, similar to captions under images, so the structure of the quote is protected even if you select, modify, or remove the source. It’s always easy to add it back.

Blocks can be anything you need. For instance, you may want to add a subdued quote as part of the composition of your text, or you may prefer to display a giant stylized one. All of these options are available in the inserter.

You can change the amount of columns in your galleries by dragging a slider in the block inspector in the sidebar.

Media Rich

If you combine the new wide and full-wide alignments with galleries, you can create a very media rich layout, very quickly:

Accessibility is important — don’t forget image alt attribute

Sure, the full-wide image can be pretty big. But sometimes the image is worth it.

The above is a gallery with just two images. It’s an easier way to create visually appealing layouts, without having to deal with floats. You can also easily convert the gallery back to individual images again, by using the block switcher.

Any block can opt into these alignments. The embed block has them also, and is responsive out of the box:

You can build any block you like, static or dynamic, decorative or plain. Here’s a pullquote block:

Code is Poetry

The WordPress community

If you want to learn more about how to build additional blocks, or if you are interested in helping with the project, head over to the GitHub repository.


Thanks for testing Gutenberg!

👋

PYJAMAS GALORE

I’ve been throwing out clothes. This is long overdue. Not being unduly concerned about fashion, I keep my clothes for years. I’m still wearing some clothes that I had in Scotland when we left 30 years ago. But my wardrobes are becoming overfull.

What happens when you retain a garment that you no longer care for is that it languishes in the back of your wardrobe, denying ordinary , wearable clothes room. You never actually wear it. When I transferred a garment to the other season wardrobe recently I realised I had never worn it over the entire winter. Indeed I could not remember ever having worn it in recent years. The garment beside it was similarly rejected by me – it was too tight and too short.

I pay them the courtesy of trying each one on. Several are too tight – when did this happen, I wonder? I ask myself each time I try something on: does it look shabby; is it too tight; is the colour flattering; is it comfortable (very important these days.) I send some to the charity shops but mostly I decide that when I’m finished with them, my clothes are not fit for other people. I therefore cut them up for patchwork, removing buttons, zips and any sections of embroidery.

I made up three pairs of pyjamas. I am particular about these. I have cut a pattern which is exactly made to my requirements. A top with a round neck with a slit in it, a yoke at the back, wrist length sleeves, easy to lift off and on. The edges of the neck and sleeves can be trimmed with self made bias binding or they an be sewn onto cheesecloth and turned. It’s easy to sew – no buttonholes or zips. The bottoms have legs the right length and width. I usually make them in pure cotton and occasionally silk. Because only my close family sees them I can decorate them in an eccentric manner, so I sometimes cut embroideries out of old tablecloths etc and apply them.

The three pyjamas I made this week comprise firstly a blue cotton pair. I discovered I had bought insufficient material, so found a piece of matching flowery cotton and with judicious piecing was able to produce a pair. The second ones are of thick white cotton and there are blue gingham bottoms and a bias trim on the top. The third pair are white, and I had bought in a junk shop a set of mats, I think intended for a dressing table, with blue shadow work embroidery. I attached one long mat (its edges cut off) to each leg and a small square to the bottom of the sleeves. There was enough material (just) left over from the blue pair to provide bias binding for the neck and sleeves. I’m quite pleased with them!

And the good thing about throwing out clothes is that it leaves gaps in your wardrobe which it is absolutely urgent and essential that they be filled!

SUMMER DRESSING

The changing of the wardrobes is underway!

When this takes place, one is heartily sick of the departing season’s garments. I do this swap over several days, examining each garment with a critical and ruthless eye. Anything which doesn’t fit / suit / appeal is either despatched to a charity shop or cut up into pieces and re-used.

Today I am wearing white cotton jeans, and a long linen dress, white, with drawn thread embroidery down the button edged front, which was Elisabeth’s and which I sewed altering its A line style to straight. It has no collar which doesn’t suit me and so I have a white chiffon scarf with silver decoration back to front round my neck with the ends hanging down my back. Beige sandals complete the ensemble.

Summer is a-coming in!

OCELOT HUNTING

OCELOT HUNTING

In my youth, I had an ocelot coat (fake of course) which I had bought when shopping with my mother, in of all unlikely places, Bathgate (a fact I did not reveal to anyone remotely fashionable.) I wore it for about ten years, from approximately aged 19 – 29. It therefore accompanied me through the adventures of my youth and into the first years of my marriage. I had other coats of course: a stone coloured, narrow wool coat with a neat, blonde fur collar; a dark brown maxi coat of Harris tweed; a green anorak that I bought when I met John to walk the dog in; and a red suede coat that was a present from a boyfriend. But the ocelot was my favourite. It attracted pickpockets: I fought them off three times (well, I did not do any actual fighting, but I grimly held on to my bag and made a lot of noise.) Eventually however it would no longer do, and I sadly made the unworn parts into cushions.

For the past 40 years, I’ve been looking for a replacement. There are, in my view, slightly more exacting requirements for a coat than for cushions. Its fabric’s colour and pattern must suit you. Its neckline must be flattering. For me, it should be slim-line and naturally minimalist. It’s buttons must be an appropriate size, shape and colour It must be a style and colour that is suitable.

John goes to Wickes for some DIY tools in Burgess Hill. I elect to go into Miss Mabel’s, a medium sized emporium which has many small sections selling an eccentric collection of stuff.

And there is The Coat. It hangs on a hook, calling to me softly. Beside me in the cafe section, there is tea, fragrant, piping hot in a pretty delicate Chinese patterned cup which doesn’t match. There are gluten free scones – not as good as an exacting scone-maker would prescribe but tasty enough, and I wonder briefly if I should have some first. But I know from experience that in this kind of shopping you have to focus on what you want, and if you see something you want, buy it at once. This is no time for dithering. I go straight to the coat. It is in cool shades of black, white, beige and grey. It is in a style that suits me – straight up and down, no visible pockets or belt. I try it on. It fits. It is very light, warm and comfortable. It is well within my budget and I think, I’ll have it.

(NB No ocelots were harmed during the making of this coat or this story; except perhaps that it reinforces the idea of fur being acceptable to wear, though both of these coats were of course artificial. )

SEASONAL CHANGES

It’s recently been that time of year when, in my case anyway, I swap over the summer and winter wardrobes. As I laboriously, over several days, carry out this task, it occurs to me that since we have chosen to have only drawer space in our bedroom, and use the wardrobes in two other rooms, I could just leave the winter wardrobe permanently in the front bedroom and the summer one in the back,(or vice versa). After all, it does not involve a massive trek. I do not need to call a taxi in either case.

But when it comes down to it, I find I just can’t do it. It’s obviously one of the rituals of my life.

I shunt the clothes to their new locations without examining them, but as I take each one out to wear in the following days it, I look it over very critically. Some do not pass this first inspection and are consigned to the charity bag, or cut up straight away. Perhaps they look too worn; old-fashioned; faded; or don’t fit any longer beyond the point that I can be bothered to alter them. Sometimes I just don’t fancy them any more. I’m not sentimental about my clothes (or stuff in general.) (When you’re asked ‘What would you save from the burning house? I think, the people and the animals. Everything else is replaceable.)

The first wearing is also a trial of the garment. If it’s not comfortable; if the shoulder slips off; if the material is too stiff; shiny; coloured; boring etc ; if the trouser legs are too short; then even though presumably it was also that the previous year at the end of the day I put it to be disposed of. This year I seem to dispose of as many garments as Henry VIII dismissed Queens.

Once they’ve gone, comes the good part (as no doubt Henry Tudor also found.) I look for the gaps in my wardrobe and set about filling them.

During my perambulation through my wardrobe, I come across The Dog Blanket Dress. ( A white wool dress I made, of which the result was not at all flattering .) It has sulked in the wardrobe ever since. I have never worn it, but could never quite give it up. Looking at it gloomily, I realise that it is the top half of the garment which doesn’t suit me. The bottom half is just a plain straight skirt. I have enough material left to try once more for a good outcome. (No-one can accuse me of a lack of patience and endurance!)

I cut off the bodice. I iron on interfacing in to the new waistband. I attach the waistband to the skirt and fit it to me. I pin in the darts by eye and sew them. I attach a dot of glue to the tops of the truncated zip so the zip fastener does not go skiting off into oblivion! The result doesn’t seem too bad. I hang it up in the Winter wardrobe. With a black cashmere cardigan, a small black leather handbag, black boots and a pearl and onyx necklace it should do nicely.

I’ll let you know if it turns out well. I just hope it doesn’t morph into The Dog Blanket Skirt.

THE UNLOVED JACKET

I was thinking that there is a very small selection of clothes styles that really suit you, especially if you are a small woman like me. Fortunately I have an oval shaped face, so almost every style of neckline suits my face – but square or boat shaped necklines make me look shorter, so I avoid them.

I suit:

straight skirts, with a waistband, a back zip, and a slit or pleat in the back seam, coming to 2 inches below my knee;

shift dresses, ideally with a V neck and sleeves to just below my elbow, fitted to the body and the back seam opening at the hem

trousers that have a waistband at the actual waist, darted to fit, zip in front, straight legs narrowing to the cuff, no pockets or any design details.

Long, straight jackets

classic coat, long enough to cover the underneath outfit

short, rounded edge jackets worn with a long skirt

Channel type jackets

V necked fitted T shirts and jumpers.

Any frills or flounces, or ‘pretty’ accessories look ridiculous on me

Because I want attention on my face, I generally wear shoes and boots in black leather.

I like scarves which I wear knotted round my neck with the ends dangling down to give an elongated look.

I am able to wear quite dramatic jewellery and not be over-powered by it.

Pleats, gathers, waist details make me look fat.

I’ve been thinking about this because some years ago I bought a brown and white randomly patterned suit. The skirt was made up of 6 gores which widened at the hem, topped by a jacket with a large wide  collar and adorned with two pockets at the hips. I was never terribly comfortable in it and the skirt was first to go. I bought some fine brown wool with a tiny white stripe in it, and made a shift dress as I have described above, The dress was fine, and it went with the jacket (just about.) The trouble was, I could always find an alternative in my wardrobe which suited the dress and me better than the jacket, ie a winter white very long and straight knitted alpaca coat/cardigan; a mushroom coloured long coat/jacket worn with a silk scarf that contained both the brown and the mushroom. I came to really dislike the jacket. I wear my clothes in rotation (obviously I can decline what the wardrobe offers me, but I rarely do,)  and it seemed to me it was no time at all until the unloved jacket was waiting reproachfully to be worn.

Last week I snatched it off its hanger and stuffed it in a carrier bag for the charity shop. Such a relief to be rid of it. Everyone makes mistakes, the saying goes. This was definitely one of mine.

VINTAGE?

VINTAGE?

Last week while atendng a concert in the Brighton Dome we noticed that there was a sale of vintage clothes nearby and time to go to it. It was interesting.

I am a fan of charity shops. I often buy things there, which given the price you’ve paid, I then happily hack about, restyle, mend or do whatever’s necessary. Since I am small, any size can usually be adapted to fit me.

Vintage is a different matter however. For a start, the price you pay is significantly higher, almost as much as for a new article although in fairness, generally the vintage item has been, in its day, of superior quality.

Then the shape of woman, both in its natural form, and in its presented form, is quite different nowadays. Women used to be smaller, ie less tall, and thinner. Many older dresses are of such diminutive proportions there is no prospect of the modern woman squeezing into them. Undergarments are different too. Women wore corsets and had nipped in waists; they wore bust flatteners, or these peculiar pointed bras of the 1950s.

Plus lifestyle has changed. I can recall my own mother wearing a lovely suit to go shopping (for groceries). I have searched high and low for a similar material to no avail – it was of a fine wool, with a small houndstooth check in beige and cream. With this she wore high heels, cream leather gloves, and a beige pillbox hat with a veil. Well, we’re not going to grace Sainsbury’s in that ensemble, are we?

I tried on one coat (£175) because it was in a beautiful fine wool plaid that reminded me of my mother’s suit, in cream, beige and pale blue. It was immesely heavy to put on. It’s shape was peculiar – I don’t know what you would call it – the arms were sort of half magyar and didn’t hang well, and it came to my ankles. For £175 I’m not going to undertake a difficult re-making which may not be successful in the end.

But it was interesting to look at the clothes and reflect sadly that clothes one had worn in one’s youth were now ‘vintage’. There was a coat of that lovely colourful loosely woven tweed that was fashionable in the 1960s and which I coveted at the time (Bernat Klein); (it had sagged and was baggy, but I recalled that this happened to those worn at the time, so it wasn’t surprising); those brilliantly coloured psychedelic long dresses of the late 60s I think; pillbox hats; trim little duster coats with fur collars. There were some ladies shopping who were already wearing vintage. They looked – well, slightly odd; but interesting – adding to the gaiety of the nation.

But I’ve come to the conclusion that what I like is modern clothes, made to fit one’s actual figure, comfortable, and perhaps making a nod in the direction of vintage. Inspired by period pieces, but not actually one!