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【3%OFF：夏先取りキャンペーン】バッククロス子どもエプロン(100～120cm) 撥水ノーアイロン 手提げバッグ・三角巾付き スターリングシルバー1. 140 2 2. 3. 4. 5.COLORFUL CANDY QUALITY COLORFUL CANDY QUALITY cm 5172. 5 5234 2722 100% 100%
■エプロンと三角巾をすっきり収納。持ち運びに便利な手提げバッグがセットになりました！
エプロンと三角巾を収納できる専用サイズの手提げバッグがセットに加わりました。コンパクトで持ち運びしやすく、普段お使いのバッグにも入れやすいので、準備や片付けがもっとスムーズになります。
1.撥水＆ノーアイロン素材で、家事の負担をぐっと減らせます
エプロンに使われている撥水素材は、アイロンがけがほぼ不要の“ノーアイロン素材”。
アイロンにかける時間は1回数分ですが、年間にすると約40時間も節約できます。
丸2日分の家事が減ると思うと、毎日のゆとりがぐっと増えますね。
忙しい親御さんにこそ、“お手入れの手間が減る”というメリットを感じていただけます。
2.汚れに強く、清潔をキープしやすいのも心強いポイントです
表面の水分を弾くので内部が汚れにくく安心です。少し汚れてもサッとひと拭きでお手入れができ、常に気持ちよく使えます。
軽くてシワになりにくい素材なので、見た目のきれいさも長く保てますよ。
3.毎日清潔、軽くてやわらか、快適な着心地
エプロン本体は、洗濯などによる摩擦に強く耐久性に優れています。軽くてやわらかな肌触りなので、動きやすく快適な着心地。
4.ひとりで簡単に着脱できるバッククロスタイプ
肩紐が背中で交差しているので肩からずり落ちにくく、着脱簡単。 三角巾の後ろはずり落ちにくいゴム仕様。サイズが大きい場合は、ゴムを少し縫って調節して下さい。 マスクやハンカチを入れられる便利なポケット付き。
5.キレイなまま長期にわたって使える品質と、安全性。COLORFUL CANDY QUALITY
国際的なテスト機関で堅牢性・安全性確認済みの素材のみを使用。仕入れから製造・販売まで、リスクを入り込ませない一貫体制。キレイなまま長期にわたって使える品質と、安全性。それがCOLORFUL CANDY QUALITY。
エプロンと三角巾を収納できる専用サイズの手提げバッグがセットに加わりました。コンパクトで持ち運びしやすく、普段お使いのバッグにも入れやすいので、準備や片付けがもっとスムーズになります。
1.撥水＆ノーアイロン素材で、家事の負担をぐっと減らせます
エプロンに使われている撥水素材は、アイロンがけがほぼ不要の“ノーアイロン素材”。
アイロンにかける時間は1回数分ですが、年間にすると約40時間も節約できます。
丸2日分の家事が減ると思うと、毎日のゆとりがぐっと増えますね。
忙しい親御さんにこそ、“お手入れの手間が減る”というメリットを感じていただけます。
2.汚れに強く、清潔をキープしやすいのも心強いポイントです
表面の水分を弾くので内部が汚れにくく安心です。少し汚れてもサッとひと拭きでお手入れができ、常に気持ちよく使えます。
軽くてシワになりにくい素材なので、見た目のきれいさも長く保てますよ。
3.毎日清潔、軽くてやわらか、快適な着心地
エプロン本体は、洗濯などによる摩擦に強く耐久性に優れています。軽くてやわらかな肌触りなので、動きやすく快適な着心地。
4.ひとりで簡単に着脱できるバッククロスタイプ
肩紐が背中で交差しているので肩からずり落ちにくく、着脱簡単。 三角巾の後ろはずり落ちにくいゴム仕様。サイズが大きい場合は、ゴムを少し縫って調節して下さい。 マスクやハンカチを入れられる便利なポケット付き。
5.キレイなまま長期にわたって使える品質と、安全性。COLORFUL CANDY QUALITY
国際的なテスト機関で堅牢性・安全性確認済みの素材のみを使用。仕入れから製造・販売まで、リスクを入り込ませない一貫体制。キレイなまま長期にわたって使える品質と、安全性。それがCOLORFUL CANDY QUALITY。
サイズ（単位：cm）
エプロン
着丈：約51／裾周り：約72.5
三角巾
頭囲：約52／長さ：約34
手提げバッグ
タテ：約27／ヨコ：約22
※商品によってサイズに多少の誤差がございます。予めご了承ください。
素材：ポリエステル100% 手提げバッグ：綿100%
●使用におけるご注意
※撥水生地の三角巾は、特性上使い始めは生地にハリがある為、事前にお洗濯していただき生地を慣らしてご使用ください。
※ポリエステルには汚れを吸収する特性があり、汚れが強いものと一緒に洗濯してしまうと生地が黒ずんでしまう場合があります。付着した汚れが強いものとは別に洗濯して下さい
※ポリエステルには防火性がないため、火を近づけると生地が溶けてしまう可能性があります。高温のアイロンでも変形・テカリが出る場合があります。使用する際はご注意下さい、
※乾燥機にかけると変形してしまう可能性があります。もともと乾きやすい生地なので自然乾燥がおすすめです。
※熱と一緒にシワをつけてしまうとなかなか取れないので、洗濯機の脱水や乾燥は短めにしてください。
※高温のお湯だと逆汚染が起こりやすくなりますので、ぬるま湯をおすすめします。
※ポリエステル生地は日光に強い素材ですが、濃い色のものは色落ち色あせしてしまうので陰干しがおすすめです。
※色の濃いものと一緒にお洗濯は避けて下さい。
※洗濯後、長時間放置しないで下さい。
※暑い場所で長期間、他の物と一緒に放置しているとプリントの色移りする可能性があります。
●洗濯について
洗濯により若干の色落ち、濡れた状態での接触により色移りすることがございます。洗濯の際は、他のものとまとめて洗うのはお避け下さい。
●柄の出方について
柄の出方は、生地の裁断により、一点一点異なります。あらかじめご了承ください。
●商品仕様について
商品は写真と異なる場合や同等品へ仕様変更する場合がございます。予めご了承ください。
また、お揃い生地商品が完売の際はご了承ください。
その他のご注意点はこちら
※撥水生地の三角巾は、特性上使い始めは生地にハリがある為、事前にお洗濯していただき生地を慣らしてご使用ください。
※ポリエステルには汚れを吸収する特性があり、汚れが強いものと一緒に洗濯してしまうと生地が黒ずんでしまう場合があります。付着した汚れが強いものとは別に洗濯して下さい
※ポリエステルには防火性がないため、火を近づけると生地が溶けてしまう可能性があります。高温のアイロンでも変形・テカリが出る場合があります。使用する際はご注意下さい、
※乾燥機にかけると変形してしまう可能性があります。もともと乾きやすい生地なので自然乾燥がおすすめです。
※熱と一緒にシワをつけてしまうとなかなか取れないので、洗濯機の脱水や乾燥は短めにしてください。
※高温のお湯だと逆汚染が起こりやすくなりますので、ぬるま湯をおすすめします。
※ポリエステル生地は日光に強い素材ですが、濃い色のものは色落ち色あせしてしまうので陰干しがおすすめです。
※色の濃いものと一緒にお洗濯は避けて下さい。
※洗濯後、長時間放置しないで下さい。
※暑い場所で長期間、他の物と一緒に放置しているとプリントの色移りする可能性があります。
●洗濯について
洗濯により若干の色落ち、濡れた状態での接触により色移りすることがございます。洗濯の際は、他のものとまとめて洗うのはお避け下さい。
●柄の出方について
柄の出方は、生地の裁断により、一点一点異なります。あらかじめご了承ください。
●商品仕様について
商品は写真と異なる場合や同等品へ仕様変更する場合がございます。予めご了承ください。
また、お揃い生地商品が完売の際はご了承ください。
その他のご注意点はこちら
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4.5 ★★★★★
Based on 7 reviews
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Product Reviews
★★★★★ 5
It's All Right Here. All of it.
Format: Hardcover
I shouldn't even be writing this review because doing so only creates my competition. I'm writing it for Robert McKee out of respect and love for him as one of the best instructors I've never met. I have both STORY and now, DIALOGUE in hardcover, on my Kindle, and the audio version (he narrates his books) in my headphones. I read it, I listen to it and take it with me when I travel. Sometimes I listen and read at the same time. Most nights I listen to the audio version in my sleep. In other words, I eat, sleep and breathe this book. I did the same thing with Story, his other book. I may go to my grave never fully comprehending the vast wealth of knowledge contained in these two books. That's OK. What I can tell you is this. With nothing but STORY as my guide, my very first screenplay took seven months and thirty-five drafts from start to finish. But. That screenplay became a Hallmark Movies and Mysteries feature film. The producers liked it so much they gave me another assignment. That one took six weeks, and they bought the first draft. I'm now working on my fifth script; this one is in the six-figure category, with five figures upfront just for the Treatment. And I owe it all to everything I've learned from studying Robert McKee, supplemented by what I learned from everyone else. Over the past thirty years, I’ve studied with forty plus instructors and highlighted hundreds of books and listened to dozens of recorded seminars. All that information is summed up and thoroughly explained in Robert McKee's two books STORY and now DIALOGUE. I won't live long enough to absorb everything he teaches. And I still study two hours a day as a warm up for my writing. I’d recommend Aaron Sorkin, Warner Hertzog, William Goldman (both Sorkin and McKee say he's the greatest), Blake Synder, Chris Vogler, Michael Hauge, William Akers, and anybody else you can find who’s willing to share their knowledge. Because you never know when a concept you didn’t realize you didn’t understand or needed is going to show up. Especially when presented from a different perspective. Having said that, if you are serious, and I mean dead serious, about becoming a working screenwriter, or any other kind of fiction writer for that matter, then you have no choice but to study McKee like your literary life depends on it. Buy the hardcover, buy the Kindle version, and buy the audio version of DIALOGUE and STORY. And supplement these two works with any other material that speaks to you. If you do this, you will become a first class screenwriter or novelist or playwright, because all three genres are only different ways of presenting a Story. If you can’t commit to this, unless you’re a genius or prodigy, you’re wasting valuable time which could be spent following your true life calling. But if your heart’s desire is to become a working writer, then sooner or later you’ll have to know everything in McKee’s two books. So, you might as well bite the bullet and jump in head first. It's all right here in STORY and DIALOGUE. All of it. Thank you, Mr. McKee. You, sir, changed my life.-- Jimmy Hager
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Reviewed in the United States on September 21, 2016
★★★★★ 5
A book on dialogue should be experienced first as a book on tape
Format: Audio CD
I think of this more as a great master class lecture. Dialogue should be seemingly simple (we all talk), but McKee defines its essence and differences for prose, stage and cinema. The bulk is narrated by McKee, but the scene examples are read by voice actors and they do quite well. Even the roots of the English language are examined in order to make better decisions on your character's particular use of words. After listening the 10 hours twice while commuting, I finally picked up the book and read it. The book on tape is a better way to initially absorb the material, while the actual book helps to clarify the info. A must for all writers, especially screenwriters.
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Reviewed in the United States on August 30, 2018
★★★★★ 4
Helpful, but not as good as "Story" by same author, and it disses certain genres
Format: Hardcover
This book contains a lot of helpful information on how to write dialogue. It's dense with dialogue analysis and insights, tough to take in by just reading it through once. But it is helpful.
McKee covers the three dialogue tiers (said, unsaid, unsayable) as well as how dialogue ties into story turning points and scene conflict type. I still have lots of practice ahead of me to figure out how best to do this in my story. I will definitely use his advice as a guide. He understands dialogue at a much deeper level than I do.
However, many of McKee's dialogue examples did not speak to me. While I liked reading the dialogue examples for Breaking Bad, 30 Rock, The Sopranos, Frasier, A Raisin in the Sun, and The Great Gatsby, and agreed they were good, I disliked the dialogue from Shakespeare, Elmore Leonard, Sideways, Fraulein Else, and Lost in Translation. McKee says fine dialogue turns the reader/audience into a mind reader; I guess I'm not interested in movies which expect me to be as much of a mind reader as those latter examples did. I totally missed the subtext of the dialogue in those until he explained it to me as an aside. And that's after I already saw most of those movies!
If I have to guess what every character means with every line, that's too much work and too little entertainment for me. Maybe mystery lovers liked the dialogue in "Lost in Translation"; I'm not a mystery lover. McKee quoted one novelist as saying that the crux of good writing is to, "Make em laugh, make em cry, make em wait." Lost In Translation and its dialogue did none of that for me. The subtext was so confusing and subtle that I lost interest in the movie. I can't even remember what it was about anymore, only that it won some award and I had no clue why.
McKee says that with rare exceptions, a scene should never be outwardly and entirely about what it seems to be about. Dialogue should imply, not explain, its subtext. An ever-present subtext is the guiding principle of realism.
Nonrealism, on the other hand, employs on-the-nose dialogue in all its genres and subgenres: myth and fairytale, science fiction and time travel, animation, the musical, the supernatural, Theatre of the Absurd, action/adventure, farce, horror, allegory, magical realism, postmodernism, dieselpunk retrofuturism, and the like. It's a bit unclear how, if at all, anyone writing in any of these "nonreal" genres should take his dialogue advice. It seems to me that even sci fi scenes need some good dialogue with subtext to be engaging.
With McKee, all the accolades go to what is implied and unsaid over what is said. I agree that subtext matters, but for me, he's out of proportion with how much it matters to most people and how hard audiences are willing to work to discover the intended subtext. Also, memorable spoken character lines can elevate movie themes and characterization like nothing else.
In the end, I think this book is geared more toward writers who want other advanced writers as their audience rather than the average reader or movie watcher. And McKee admits it is definitely not geared toward sci fi, fairytales/myths, action/adventure, horror or allegory. It's almost as if he's saying those genres can't have excellent dialogue. I disagree.
But it was still a helpful book to read, and one I will be thinking about and trying to more fully understand for a long time. McKee understands how character's subconscious drives can deepen what they say or avoid saying, and how dialogue interacts with many other aspects of a story to make it all work together.
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Reviewed in the United States on December 12, 2019
★★★★★ 5
Amazing.
Format: Kindle
Just like a good movie, the first 10 pages = mind blown. Wow, such really, really good material here. If you're new, this will help you a ton. If you're experienced, this book will help you realize WHY great dialogue is so great, enabling you to create the magic again and again. I love how McKee covers several medias ( screen, theater, novel ) but still stays true and clear on the concept. A virtual masterclass on the subject. One of the best screenwriting books out there, and Yes, it's well worth all the hype.
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Reviewed in the United States on April 18, 2017
★★★★★ 5
So to speak
Format: Kindle
Previews did not show the Table of Contents, but it is worth searching the web for. The coverage includes practical techniques as well as case studies. Notes cover titles on topics over several decades. This book has four parts about what dialogue is, how it can mended, and how it can be created and designed. Trialogue, the third thing through which a pair of characters channel conflict in conversation, is an interesting concept because it overlaps social networks or media and comms devices; it is also looked at historically. Dialogue is reportedly the quickest way to fix a narrative text since it appeals to intuition. Those levels of depth are what the book is about. They can be found in first person voice. The approach could easily fill a site on the order of tropes for favorite titles, but for deconstruction and revision, which are also relevant to works in progress. It talks about finding characters in the dark, though not necessarily from the milieu, unless it were compressed and made to transfer meaning like in poetry, but reflexive so that it is symmetrical to the characters or human nature. If there is a boundary to be found, then this method is going to hit the lines to find out what happens then. The impact on the rest of the narrative elements is discussed. This extends back through the early philosophers, through tragedy, the merging of European roots into English, and the study of personalities to contemporary customs. Voice is plot.
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Reviewed in the United States on June 12, 2017
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