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I'm so happy that my owl didn't find you too busy to consider being my mentor for the CCF application. I've thought a great deal about the questions you asked me in return, and I hope my answers will help give you a better idea of why I'd like so very much to be a naturalist.
My father always took me for long walks in the woods around our home from the time I was a very little girl, and he was the one who taught me to look for the signs of magical creatures. I learned how to sketch because I became fascinated with recording the details of what tracks and nests looked like, or the details of the way feathers lay on the back. (My handwriting was a bit sloppy because I was so young at that point, and so sketching was easier). I added paints later because I wanted so desperately to capture just the right colour of the iridescence on the wing of a Fireball Fly or the different jewel-like tones of glowing salamanders. I've spent years collecting notes and sketches in field books (my father showed me how). We kept a Life List of the magical animals and birds and so on that we saw, and it was always particularly exciting when we would find signs of a truly rare creature.
So Care of Magical Creatures is my favourite class, of course. But I'm particularly interested in what you do, working with particularly endangered magical species. My primary interest in Potions class is a little off-centre: I like trying to adapt potions or potion ingredients so that it's not necessary to use as much or as many ingredients taken from the really rarest animals. For example, did you know that when you're brewing Romney's Elixer for Speed, if you add three ounces of hag toe nail clippings, you only need three parts of unicorn hoof shavings to one part horse hoof shavings (instead of five parts)?
I only had to blow up four cauldrons to find that out, too!
I'm sending one of my field notebooks by return owl. I hope you will find it interesting. Thank you for your consideration.
Respectfully,
Luna Lovegood
My father always took me for long walks in the woods around our home from the time I was a very little girl, and he was the one who taught me to look for the signs of magical creatures. I learned how to sketch because I became fascinated with recording the details of what tracks and nests looked like, or the details of the way feathers lay on the back. (My handwriting was a bit sloppy because I was so young at that point, and so sketching was easier). I added paints later because I wanted so desperately to capture just the right colour of the iridescence on the wing of a Fireball Fly or the different jewel-like tones of glowing salamanders. I've spent years collecting notes and sketches in field books (my father showed me how). We kept a Life List of the magical animals and birds and so on that we saw, and it was always particularly exciting when we would find signs of a truly rare creature.
So Care of Magical Creatures is my favourite class, of course. But I'm particularly interested in what you do, working with particularly endangered magical species. My primary interest in Potions class is a little off-centre: I like trying to adapt potions or potion ingredients so that it's not necessary to use as much or as many ingredients taken from the really rarest animals. For example, did you know that when you're brewing Romney's Elixer for Speed, if you add three ounces of hag toe nail clippings, you only need three parts of unicorn hoof shavings to one part horse hoof shavings (instead of five parts)?
I only had to blow up four cauldrons to find that out, too!
I'm sending one of my field notebooks by return owl. I hope you will find it interesting. Thank you for your consideration.
Respectfully,
Luna Lovegood
