Monday, March 24, 2014

Compact.

The Belkin QODE keyboad is nothing if not compact.Today I went out with my iPad, a stylus and this keyboard just to see how much I could do with the stripped down rig. 
Look - the mug of iced coffee was more substantial than the studio gear. 
And flipped, so you can see the keyboard:
Open:

The keyboard works well, although it is a bit stiff and a bit small.  If it is located right at the edge of the table or desk, I can type comfortably. Even an inch further back and its a different story. Likewise when using it on my lap.  

As you can see, it is a lot smaller than a standard keyboard. 
 
As an easel it works fine.  It furnishes slots for two useful viewing angles.


 
And can be easily shifted for landscape or portrait orientation, which makes it very  flexible.
The slots offer a sturdy hold for the iPad which makes drawing on it with a finger or a stylus very effective.  In Portrait orientation I found it was a bit too flexible when drawing near the top of the screen - I had to anchor it with my other hand. In Landscape mode there is ample support for the entire screen.  
I also found that when writing with a stylus in my notetaking apps, it was comfortable and convenient.  

Wednesday, March 12, 2014

Dust in the Air

So much dust in the air today like a brown shroud over the mountains.  Drove out to Hereford for a Coffee and solitude and found myself driving into the cloud. At home, chaos, unrelated to the dust - mom depressed and self-berating today.  She's in one of her everything's my fault moods - I recognize them - I have my own days like that.  Every day she goes just a little further away.  

Friday, January 24, 2014

Sketch Club app for iPad



For the past year I've been working a lot with digital media, both on my computer and on my iPad - I have a few iPad apps that have been central to that work, including Paper, Autodesk Sketchbook Pro, and Procreate.  This week, I added a new tool to my arsenal.
Its called SketchClub, and its a remarkable little app.
Drawing with an iPad is a very intuitive and simple process.  Paper has allowed me to work with a set of simple and reliable tools.  The tools that SketchClub offers are similar, but there are more tools, they are more customizable, and there is support for working on multi-layered imagery as I do in Photoshop.  This added functionality has been a terrific boost!
SketchClub combines the simplicity of Paper with some of the more sophisticated functions of Procreate and Sketchbook, with the added charm of being equipped with a great online publishing tool and a network of users who share their work, their technique, and their opinions online.  I can even let people watch and comment as I work on an image.
I've been using SketchClub with both finger and stylus - the stylus I've preferred, and the one I used on the above image is the Adonit Jot Pro.  Unlike most of the soft tipped styli on the market, the jot pro has a firm tip, with a clear disk attached that lets you view precisely where you are making your lines.  The tip feels like a pen when it touches the iPad screen too.

Thursday, January 16, 2014

Notes on Vision 22

I remember my first oil painting It was an odd little thing. Just a blue canvas, with a tiny brown fish in the center of it. Since becoming an adult artist I have decided that the image would have compared favorably to aKlee-or perhaps even have been mistaken for one. If that had been the case it would not have been a very well regarded Klee. I would not expect it to bring a high price in an art gallery, or to hold a place of prominence in a prestigious museum More likely it would appear as apocrypha in some odd textbook- Something that might be of interest to an art historian perhaps, who would then classify it and remark on it's being of no lasting importance except as a misty, a quick knock off work, one that is of interest only because it was made by him. Oh they would hem and haw and pooh pooh the work and move onto a much more complicated composition, one that had elements of magical thinking, something abstract, a subset of impulses that were more recognizably Klee. I also remember that painting with oil was not easy like painting with water media. I remember getting colors all over my hands and not knowing that I could not wash with water-when Ittied I only managed to spread it
out more. A few spots spread into patches which I also succeeded in transferring paint to my clothes and to the counter top I had been working on-finally my father called a friend who worked at a hardware store who explained that I could use turpentine or salad oil to do the job and it  worked, at least to the extent that I was able to dilute the paint enough that although it stained my skin, It no longer transferred to everything touched. Years later when I actually learned a bit about the chemistry of paint, I remembered that first oil mess with humor, but at the time it had confused me. I'd been an artist in a previous life, at least that's what my aunt said; I had retained some of the physical abilities but none of the necessary tools of chemistry, knowing the how but not the "why" or the "what". 
Like many experiences I still learn from that one if I think about it. I remember how thick and viscous the paint was and also the stain quality after dilution and I still u=e that tech to stain paper or canvases as a men Thal ground. I still use that technique to stain a neutral ground. I also learned that in apinchd could use salad oil both as media and to clean mps. Not a bad lesson for a four year old if you ask me.

IN THE AFTERNOON A PHILOSOPHER CAN LIFT A LOT OF WEIGHT WITH A GOOD IDEA. ON A COOL SUMMER AFTERNOON WE CAN RELAX 1/4 THE REFRESHING BREEZE. Its A GOOD TIME To TAKE YOUR LOVER SOME PLACE QUIET. BUT REMEMBER THAT, in your DREAM, WHEN THE RAINS COME, THE ROOF LEAKS LIKE A SIEVE. Your SEX MAY WINDUP COOLER THAN YOU EXPECT THE SOFA, THE BED, ALL TAKE ON WATER. THE ENTIRE Room THE WHOLE HOUSE LEAKS. THERE IS NO SHELTER WHEN IT RAINS. RELAX INTO THE DREAM. PALE EYES LIKE SAUCERS SHINING OUT OF THE DARKNESS. THEY ARE ALL You CAN SEE OF THE DRIFTING DREAMER. THIS IS A SAD MOMENT A FAINT REMINDER OF THOUGHTS THAT DON'T PASS MUSTER OF INTEGERS THAT DON'T ADD Up. THERE IS A CHARGE IN THE AIR A DARK HOLIDAY ELEMENT THAT SEEMS To DECEIVE EVEN THE SUN. THE RESILIENCE OF THESE OLD AND SICK THOUGHTS. HOW DID THE WIND BECOME SO THICK AND SYRUPY, Too HEAVY TO BREATH, CONDENSED AS IF IN BITTER COLD. THERE IS A POLAR INTENSITY FRAUGHT WITH SECRET PATTERNS AND ODDITIES OF MISUNDERSTANDING. 
IF I HAD A CLEAR SENSE OF THE MOMENT I MIGHT ELICIT SOME KIND OF SURRENDER A PASSIVE LUCIDITY PIECED TOGETHER IN A PISSANT SUGGESTION OF ARTICULATE VERBAGE. THERE WOULD BE A SWIFT AND CREDIBLE ARC. You WHO SEE THE FALSEHOOD. You WHO SEEK THE PAGAN RESOLUTION OF TRUTH AND IT's BANNER TRAIL. IF SKIES TURN AS PINK AS PUSSIES, IF OUR HORMONES LIFT US To A DIFFERENT IF NOT ALWAYS BETTER AWARENESS, LINKS US SOMEHOW To THE OTHER AREAS OF SOLACE, PERHAPS IT WOULD ALSO RESOLVE THE PATTERN AND SHOW THE SECRET. THERE ARE LARGE PAYLOADS AND SEVERE PENALTIES FOR SUCH EXTRAVAGANT PILLORIES. SYLVIA WAS NOT NURTURED. SHE IS NOT STABLE BECAUSE SHE BELIEVES THE EARTH IS UNRELIABLE. IT IS A BOARDWALK OF CONSUMPTION, AN ASSUMPTION, A TRAVESTY OF FILTH GROWN IGNORANCE. 

Sunday, November 3, 2013

Parallels Desktop


If you are in the market for a new computer, consider this:  Windows 8 works brilliantly when installed on a virtual machine in Parallels Desktop on a Mac.  With OSX Mavericks' new feature app nap, it sleeps quietly in the background until needed, and when you want it switching to Windows 8 is as simple as hitting "Command - tab"  as shown above.  Great stuff!

Monday, October 28, 2013

Farewell to an Icon

I was backstage in the greenroom at a Laurie Anderson show, where I'd worked as a volunteer usher. I was exhausted, and sat down for a break on a ratty sofa. There was a TV on showing a baseball game. A guy came in and plopped down on the seat beside me. He asked if I wanted a beer- I said sure. He went to the fridge and got two icy cans, popped one for me. I took the can and did a double take when I realized who he was. He grinned, poked me in the shoulder, and said "get over it- I'm Lou Reed." I hope you are taking a walk on the wild side Lou! Thanks for the beer and the music! Say hi to Drella for me!

Sunday, October 13, 2013

Bisbee Afternoon

After a strange drive (the bridge over the San Pedro river was limited to one way traffic, so there was a long wait there, and there were hundreds of motorcyclists on the road as well) I was able to find a parking space and a seat in the nicest cafe within a hundred miles or so.  Bisbee Coffee Co. is, in fact, one of the best cafes anywhere.  It has a nice combo of inside and outside seating, is well lit and busy. The aroma of fresh coffee is intoxicating, and if you want to get an idea of what Bisbeeans are like, this is the place to be.
Its easy to forget that I live only 20 miles from this little bohemian haven.  Sierra Vista is bland by comparison.
Wandering the streets, its easy to believe that this city once rivaled San Francisco as the best city in the west.
Unlike most of the cities in southern Arizona, Bisbee actually has a main street and a downtown.  There is a place you can point to and say "that is Bisbee".  The streets are clean and well maintained for the most part, the buildings are colorful and attractive, the folk are friendly if not gregarious. Today there are no events here, but later this month Bisbee hosts a yearly race - which involves 1000 stairs in the city as part of the route.
Compared to other parts of southern AZ, Bisbee is cooler. The temperature here tends to be about 15 degrees cooler than Tucson, which means that even in the hottest parts of the summer its fairly comfortable here.
If you are an artist or a photographer, the place is a paradise.  

Friday, October 11, 2013

Ubik and Dreams

Eternal life in a spray bottle. Safe when used as directed.

At least once a year I stop in to visit Runciter and the other odd but intriguing characters in Philip K. Dick's Ubik, which remains one of my favorite novels.  It is a favorite for the same reason a painting becomes a favorite. In examining it, it always rewards me with something new, something I hadn't seen before.
Ubik is new every time I open it up.  The flow of the plot doesn't change.  Its not a sequential thing that changes, but an idea thing.  The questions Phil asked about philosophy in Ubik present different answers every time I read the book.  Half life, after life, death, birth are all discussed at length in context of the novel, and every time I read it new levels open up, while others close or just outright disappear.  
Under the facade of a science fiction story, Dick created a parable that is both timeless and beautiful.  It is also deeply disturbing.



Friday, April 26, 2013

Symmetry and Crosshatching


At times when I am working on a crosshatch image, my mind wanders to the Kabbalah, and the idea of the world as emanations of light from a source.  The main source is simply boundless light, which is somehow set inside of a larger thing, simply called the boundless.  I suppose that the boundless could be the room I am working in, and the boundless light the empty page. Then as I build up layers of hatching over each other, and the body of the image on the page begins to appear, the successive layers reflect an impression of the lower emanations to the source, until we get down to the level of the world. Thinking about drawing in this way means that drawing is a form of prayer, or of meditation that tunes us in to the source - the boundless light which, by its existence, reveals the boundless.  
Or is it just turtles, all the way down?

Sunday, March 10, 2013

Two New Leaves


Here is a pair of faced leaves that I was working on yesterday - this is part of a satellite project to the large volume, that I’m calling “The Dinky Manuscript”because its very little.  
Its nice to take a break occasionally from the bigger volume, if only because the smaller one is unbound leaves and a bit easier to handle.  
This volume is also on a different paper - I’m using Arches white cover stock for it, which has a deep tooth and a highly absorbent surface which just sucks in the paint.  I think there is an earlier  version of the illustration on the left, with less detail, posted few weeks back.  I’m not sure, but I think both leaves have a bit of work yet to go.
I’m calling this particular script, the one that dominates all the volumes I’m working on right now “caligraphic block”.  Its not very ornamental, mostly I’ve designed it for writing quickly as I don’t want to think too much about what I’m writing.  
This entire project is about automatism - making art, writing things on the fly.  Rather than thinking about what I’m writing or painting, I’m writing or painting about what I’m thinking.  I’m creating musical pieces the same way - just making stuff up as I go along.  No rhyme or reason, and if there is a meaning to it, I’ll have to find it later.

Friday, March 8, 2013

Space

lukas_system_24

Painting Planets

I spent part of today painting planets in Photoshop  CS6.  It’s a lot of fun to make worlds – the work is very fast, and tossing about atmospheres and coming up with ways to fill the space between planets and suns, and the simple act of creating distant galaxies are all very fulfilling.  One can imagine what it is like for a real planet maker – if its this much fun to make planets digitally, how much greater it must be to make the real thing. 
The above image is part of a suite I’m working on of travel posters for non existent space colonies.  This particular one goes with a small caption:  “Although Janis enjoyed her visit to the Lukas system, there is no blue at all in the Lukas light spectrum – she really misses Blue!”
I’d miss it too. 

I'm learning how to make movies - here is a recent sample.  I made a screen capture of quick drawing from my iPad, made with the Paper app from 53, used Garageband (also on the iPad) to record and quickly edit an improvised guitar piece.  I used iMovie to edit them together, and here is the result:
http://www.youtube.com/watch?v=2c0tIxGNRKM&feature=youtu.be

As I was writing the caption I tried to say a bit about the correlation between the music and the drawing - in my mind, instrumental guitar playing has some of the same elements as drawing or painting does.  In visual art, I start with a neutrally colored space, either black, white, or some other color, and into that space I add lines and shapes, building them up layer upon layer.  Sometimes they resolve into an image, sometimes they remain somewhat abstract.
The musical equivalent, in my own esthetic practice, is that when playing the guitar, I create a ground of chords and rhythm over which the more intricate notes of the melody are built up, layer by layer.  Sometimes those notes coalesce into a song, but sometimes they remain in the realm of abstract expression.
In both cases, I am speak a language that doesn't partake of words for the most part.  Even so, there is a vocabulary in use which communicates, but there is no accurate way to translate them through words - it just has to be seen or heard.

Saturday, November 17, 2012

More thoughts on bridge art

Bridge arts- there is a need for curriculae that cross the boundaries between traditional art and digital art. As I have already stated earlier, for a traditional artist, an iPad should be considered as a front end device. But the power and availability of other applications on a desk or laptop computer should not be dismissed either.  Programs like the Adobe Creative Suite, Corel Paint, Poser, and many others offer us the possibility not only of extending traditional art forms, but also
 of creating new forms native to their respective applications. There are new forms of art as yet undiscovered which will grow out of these new tools, forms that  can only exist because of digital tools. We have already seen a profound revolution as a result of desktop publishing. It's rare to find a publishing house that still uses hand set metal type.  Many forms of printmaking, once considered fine art, have been retired to niches, or folk art status. 
In the process, we are losing many of the qualities that made the old forms so beautiful and enduring.  
At the same time,when drawing and painting programs struggle to replicate hand processes, in many ways they are missing the boat. The undiscovered methods that I mentioned earlier are ones which, rather than trying to replicate existing methods, should actually be exploring as well methods that fully exploit the new techniques available in the digital realm.  
When we set digital art free of the per conceived forms of pictures, stories, songs, movies, and start to move into a synthesis that contains all of those into something new, that's where the real excitement is. 


  
  

Wednesday, October 24, 2012

The Thunder, Perfect Mind

This image was inspired by some ideas expressed in the Nag Hammadi Library, including the following.

The Thunder, Perfect Mind


Translated by George W. MacRae
I was sent forth from the power,
and I have come to those who reflect upon me,
and I have been found among those who seek after me.
Look upon me, you who reflect upon me,
and you hearers, hear me.
You who are waiting for me, take me to yourselves.
And do not banish me from your sight.
And do not make your voice hate me, nor your hearing.
Do not be ignorant of me anywhere or any time. Be on your guard!
Do not be ignorant of me.

For I am the first and the last.
I am the honored one and the scorned one.
I am the whore and the holy one.
I am the wife and the virgin.
I am and the daughter.
I am the members of my mother.
I am the barren one
and many are her sons.
I am she whose wedding is great,
and I have not taken a husband.
I am the midwife and she who does not bear.
I am the solace of my labor pains.
I am the bride and the bridegroom,
and it is my husband who begot me.
I am the mother of my father
and the sister of my husband
and he is my offspring.
I am the slave of him who prepared me.
I am the ruler of my offspring.
But he is the one who begot me before the time on a birthday.
And he is my offspring in (due) time,
and my power is from him.
I am the staff of his power in his youth,
and he is the rod of my old age.
And whatever he wills happens to me.
I am the silence that is incomprehensible
and the idea whose remembrance is frequent.
I am the voice whose sound is manifold
and the word whose appearance is multiple.
I am the utterance of my name.

Why, you who hate me, do you love me,
and hate those who love me?
You who deny me, confess me,
and you who confess me, deny me.
You who tell the truth about me, lie about me,
and you who have lied about me, tell the truth about me.
You who know me, be ignorant of me,
and those who have not known me, let them know me.

For I am knowledge and ignorance.
I am shame and boldness.
I am shameless; I am ashamed.
I am strength and I am fear.
I am war and peace.
Give heed to me.

I am the one who is disgraced and the great one.
Give heed to my poverty and my wealth.
Do not be arrogant to me when I am cast out upon the earth,
and you will find me in those that are to come.
And do not look upon me on the dung-heap
nor go and leave me cast out,
and you will find me in the kingdoms.
And do not look upon me when I am cast out among those who
are disgraced and in the least places,
nor laugh at me.
And do not cast me out among those who are slain in violence.

But I, I am compassionate and I am cruel.
Be on your guard!

Do not hate my obedience
and do not love my self-control.
In my weakness, do not forsake me,
and do not be afraid of my power.

For why do you despise my fear
and curse my pride?
But I am she who exists in all fears
and strength in trembling.
I am she who is weak,
and I am well in a pleasant place.
I am senseless and I am wise.

Why have you hated me in your counsels?
For I shall be silent among those who are silent,
and I shall appear and speak,

Why then have you hated me, you Greeks?
Because I am a barbarian among the barbarians?
For I am the wisdom of the Greeks
and the knowledge of the barbarians.
I am the judgement of the Greeks and of the barbarians.
I am the one whose image is great in Egypt
and the one who has no image among the barbarians.
I am the one who has been hated everywhere
and who has been loved everywhere.
I am the one whom they call Life,
and you have called Death.
I am the one whom they call Law,
and you have called Lawlessness.
I am the one whom you have pursued,
and I am the one whom you have seized.
I am the one whom you have scattered,
and you have gathered me together.
I am the one before whom you have been ashamed,
and you have been shameless to me.
I am she who does not keep festival,
and I am she whose festivals are many.

I, I am godless,
and I am the one whose God is great.
I am the one whom you have reflected upon,
and you have scorned me.
I am unlearned,
and they learn from me.
I am the one that you have despised,
and you reflect upon me.
I am the one whom you have hidden from,
and you appear to me.
But whenever you hide yourselves,
I myself will appear.
For whenever you appear,
I myself will hide from you.

Those who have [...] to it [...] senselessly [...].
Take me [... understanding] from grief.
and take me to yourselves from understanding and grief.
And take me to yourselves from places that are ugly and in ruin,
and rob from those which are good even though in ugliness.
Out of shame, take me to yourselves shamelessly;
and out of shamelessness and shame,
upbraid my members in yourselves.
And come forward to me, you who know me
and you who know my members,
and establish the great ones among the small first creatures.
Come forward to childhood,
and do not despise it because it is small and it is little.
And do not turn away greatnesses in some parts from the smallnesses,
for the smallnesses are known from the greatnesses.

Why do you curse me and honor me?
You have wounded and you have had mercy.
Do not separate me from the first ones whom you have known.
And do not cast anyone out nor turn anyone away
[...] turn you away and [... know] him not.
[...].
What is mine [...].
I know the first ones and those after them know me.
But I am the mind of [...] and the rest of [...].
I am the knowledge of my inquiry,
and the finding of those who seek after me,
and the command of those who ask of me,
and the power of the powers in my knowledge
of the angels, who have been sent at my word,
and of gods in their seasons by my counsel,
and of spirits of every man who exists with me,
and of women who dwell within me.
I am the one who is honored, and who is praised,
and who is despised scornfully.
I am peace,
and war has come because of me.
And I am an alien and a citizen.

I am the substance and the one who has no substance.
Those who are without association with me are ignorant of me,
and those who are in my substance are the ones who know me.
Those who are close to me have been ignorant of me,
and those who are far away from me are the ones who have known me.
On the day when I am close to you, you are far away from me,
and on the day when I am far away from you, I am close to you.

[I am ...] within.
[I am ...] of the natures.
I am [...] of the creation of the spirits.
[...] request of the souls.
I am control and the uncontrollable.
I am the union and the dissolution.
I am the abiding and I am the dissolution.
I am the one below,
and they come up to me.
I am the judgment and the acquittal.
I, I am sinless,
and the root of sin derives from me.
I am lust in (outward) appearance,
and interior self-control exists within me.
I am the hearing which is attainable to everyone
and the speech which cannot be grasped.
I am a mute who does not speak,
and great is my multitude of words.
Hear me in gentleness, and learn of me in roughness.
I am she who cries out,
and I am cast forth upon the face of the earth.
I prepare the bread and my mind within.
I am the knowledge of my name.
I am the one who cries out,
and I listen.
I appear and [...] walk in [...] seal of my [...].
I am [...] the defense [...].
I am the one who is called Truth
and iniquity [...].

You honor me [...] and you whisper against me.
You who are vanquished, judge them (who vanquish you)
before they give judgment against you,
because the judge and partiality exist in you.
If you are condemned by this one, who will acquit you?
Or, if you are acquitted by him, who will be able to detain you?
For what is inside of you is what is outside of you,
and the one who fashions you on the outside
is the one who shaped the inside of you.
And what you see outside of you, you see inside of you;
it is visible and it is your garment.
Hear me, you hearers
and learn of my words, you who know me.
I am the hearing that is attainable to everything;
I am the speech that cannot be grasped.
I am the name of the sound
and the sound of the name.
I am the sign of the letter
and the designation of the division.
And I [...].
(3 lines missing)
[...] light [...].
[...] hearers [...] to you
[...] the great power.
And [...] will not move the name.
[...] to the one who created me.
And I will speak his name.

Look then at his words
and all the writings which have been completed.
Give heed then, you hearers
and you also, the angels and those who have been sent,
and you spirits who have arisen from the dead.
For I am the one who alone exists,
and I have no one who will judge me.
For many are the pleasant forms which exist in numerous sins,
and incontinencies,
and disgraceful passions,
and fleeting pleasures,
which (men) embrace until they become sober
and go up to their resting place.
And they will find me there,
and they will live,
and they will not die again.

Thursday, September 27, 2012

More thoughts on bridge art

Bridge arts- there is a need for curriculae that cross the boundaries between traditional art and digital art. As I have already stated earlier, for a traditional artist, an iPad should be considered as a front end device. But the power and availability of other applications on a desk or laptop computer should not be dismissed either.  Programs like the Adobe Creative Suite, Corel Paint, Poser, and many others offer us the possibility not only of extending traditional art forms, but also
 of creating new forms native to their respective applications. There are new forms of art as yet undiscovered which will grow out of these new tools, forms that  can only exist because of digital tools. We have already seen a profound revolution as a result of desktop publishing. It's rare to find a publishing house that still uses hand set metal type.  Many forms of printmaking, once considered fine art, have been retired to niches, or folk art status. 
In the process, we are losing many of the qualities that made the old forms so beautiful and enduring.  
At the same time,when drawing and painting programs struggle to replicate hand processes, in many ways they are missing the boat. The undiscovered methods that I mentioned earlier are ones which, rather than trying to replicate existing methods, should actually be exploring as well methods that fully exploit the new techniques available in the digital realm.  
When we set digital art free of the per conceived forms of pictures, stories, songs, movies, and start to move into a synthesis that contains all of those into something new, that's where the real excitement is. 


Artists, if you haven't bought yourself an iPad yet, here are some reasons that you should.





1. You will have a resource for drawing and painting that is more versatile and more portable than any other existing media.

2. There are hundreds of terrific drawing and painting applications which take advantage of the the direct interface.  That means that you can create images the way you always have, using your hands on a surface.

3. When you work on an iPad, you are using the same gestures you would for working on paper or canvas, so sketching and drawing on an iPad helps to hone your skills just as drawing on traditional media does - what you do on your iPad will improve your work on paper!

4. Unlike painting with traditional means, an iPad allows you to carry hundreds of brushes, colors, pens, pencils etcetera, and switch between them with a simple touch.

5. Images made on the iPad with apps such as Autodesk Sketchbook Pro, or Paper can be printed - giving you a way to quickly create cards and posters, and also a method for perfecting a master drawing and then transferring it perfectly to the media of your choice.  Consider this:  if you print your drawings on paper or canvas, you can paint over them just as you would any other master drawing!

6. You no longer have to waste precious resources when you want to sketch or doodle - do it on your iPad, save it on your hard drive.  Its so easy to organize the work that you can easily catalogue everything, and have it accessible via browser, either at home, or online.  No need to carry a massive portfolio with you either - your iPad can give your clients and potential employers the chance to see large selections of your work without muss or fuss.

7. With the integration of text, you can keep extravagantly illustrated journals, and post them online instantly.

8. With the photo and video features on your iPad, you can keep your customers up to date on the state of their commissions.  Work on a painting, and use your iPad to upload progress updates!

9. When you draw on an iPad, the work is done directly on the surface, in real time.  Unlike working with a desktop, or laptop and a Wacom Tablet, there is no divide between the drawing and the viewing surface - so its just like drawing!

10.  Although drawing with your finger can be very rewarding, there are also hundreds of styluses available, with different shapes, feel, and sensitivity, so you can pick the ones that feel the best, or that give you the most comfortable control.

For many more examples of what you can do with and iPad and the Paper app from 53, visit this link:
http://www.tumblr.com/blog/greenmanwest


Wednesday, September 26, 2012

A Page in Progress

detail

So- the work continues.  These leaves have a long way to go.  The figure on the right is nearly done – the original sketch had the man in a ballcap, but as you can see, that grew in the telling.  The apron is back from the image of the man with the mallet, working on a monster’s dental problems from a few months ago.  Of course, in his hand, he holds the Ubiquitous iPad.  For scale, I left my glasses on the left leaf. 

The hands definitely need work, especially the right one – unless I decide that the story demands he have a broken wrist.  I can improve the contours when I start to block in the background.  You can’t really see it in the image, but the surface of the gouache is very glossy – I’ve been using a lot of gum arabic in my mix lately, and the surfaces are very flat and very shiny, almost like delicate oil glazes.  This is in stark contrast to many of the earlier gouache images in the book, which used much thicker paint, show more dimension in the paint buildup, and dry with a matte finish. 
One of the advantages to using gum arabic so profusely is that the colors are stronger with it, so they can be applied in much thinner layers, which also means allowing for much more precise detail, and the marks dry almost instantly, so its easier to overpaint. 

Friday, September 21, 2012

I'm a maker, and so are you.

My New Motto is Make Something New Every Day.  Hear that Mitt? I'm a maker.

A favorite Substance for Making Things.
I haven't created any jobs yet, except, that is, to create my own.  As an artist, I put myself to work every day.  I generally work between eight and twelve hours daily at this.
My day always includes drawing, painting, writing, and sometimes printing. My rule of thumb is that, no matter what, I will finish at least one project every day.
The drawing and painting is sometimes traditional, sometimes digital, sometimes crosses over between the two.
Todays work, which is not pictured here, although I may add it later, depending on whether I make enough progress, is to complete the illustration on two pages of my illuminated manuscript, a project I've been at for about 2.5 years, and which I hope to have completed by early 2013, in the event that the world doesn't end on December 21, 2012.
Its a very strange, very personal project, which I hope to be able to put in front of an audience in a merchandise form.  Once I do that, I may actually have the need to create a studio, an office, a gallery and to hire some people on to work for me.  I'd like that. I've paid people for services before, so I've actually, as has every human being who's ever made a business transaction.
So I was woolgathering about jobs and job creation.
Here are some of those thoughts on Job Creation.
When I buy something at a store, for the short duration of the business transaction, the person selling to me is, in effect, my employee.  When I visit a doctor for care, when I pay someone to change the oil in my car, when I buy books at nearby Hastings, when I order an espresso machine from Amazon, regardless of how small a contribution I make in the process, my action has given somebody else work.  I may pay them indirectly if they are under hire by someone else.  Mitt Romney says that jobs come from the top - from the big investors, who come in and build massive fortunes, and build cubicles full of computer savvy folk trading futures and stocks and money and baseball scores, and that is it.  But what about my father, when he hires a local contractor to build a wall?  He was a job creator then too.  How about my brother when he buys a new bicycle from the shop near his house in Phoenix?  He created a job for that saleswoman.
And what would all of Mr. Romney's friends do if suddenly, we all decided to stop buying their Etch a Sketches?  Would that not have a serious impact on the many, many jobs in the Chinese Etch a Sketch Factory?
Of the many people that Mr. Romney cites as being freeloaders or moochers, how many of them work at companies, perhaps even ones owned by him, earning a few dollars an hour, and so working 12 hours a day, or working more than one job to make ends meet, who struggle to keep up, but still file their tax returns on time every year without fail, who still donate money to their favorite Presidential Candidate, who continue, though cash poor, to give their business to the local greengrocer as well as to the multinational corporate bank, which continues to assess higher and higher charges for less and less service?  I think its very, very funny that Mr. Romney thinks its important that rich folks should pay only a very, very small percentage of their wage in taxes.  These are people who exploit the tax-driven government subsidies that allow their companies and corporations to hire people for ten dollars an hour.  In most towns in the US today, that is not enough, given our taxes and our forty hour workweek, to pay rent, utilities, food costs, etc.
Commerce requires both a buyer and a seller.
Its no good manufacturing cars, if there are no roads to drive them on.
Consider this: the widespread and largely excellent system of roads that our government built with tax dollars is the reason so many millions of people are employed by the automotive industry. I wonder what would happen if the federal and state Governments suddenly voted to cut all funding for roads.
That would be interesting.  The roads would then deteriorate, except in the areas where wealthy communities could pool their resources to hire a private contractor to maintain their roads for them.
In the long run, how would that effect those giant corporations making cars?  If the roads aren't there to let us drive fast, why own a car?  Perhaps it would create a new and better business climate where horses and other draft animals drive the market.  Ranchers then would be the new tycoons.
It would be a bit quieter, for certain.  It would put a quick stop to Global Warming.
Not having the luxury of fast long distance travel, people would start spending more time at home.  The hometown would get back on the map!  People content to go to a neighboring big city for their entertainment, or their provisions, would have no choice but to shop more locally.
That might be a good thing.
I kind of like the idea of returning our currency to a Gold Standard.
Especially if the government then turned around and reimbursed all citizens with precious metals to replace the rather shabbily designed and printed paper we get now for our work.
Better still, how about going back to bartering, plain and simple?
Allow no money into the process, and only use Gold as a backup.
Most purchases then will be made between people - good for good, service for service.
That might be a good thing.
If I don't earn any money, if I don't need any money for my sustenance, think of how much money the government could save.
What if we outlawed Insurance altogether, or made it so that Insurance can be used only in cases where catastrophic expense is accrued for serious illness, or for surgery.
What if we all had to pay for everything out of pocket?  Would that cause the cost of health care to drop?  I don't know. It might, it might not.
But if a doctor or druggist knows that there is not an insurance company guaranteeing the high charges for service, wouldn't they then need to lower their prices, in order to remain in the market?
What's wrong with an economy which doesn't measure the worth of an individual by how much money he or she has earned, but instead by how good they are at the services they perform? And what would it be like if, when we have paid off the costs of our homes, we no longer had to pay property taxes on them?  There would, of course, be more incentive to buy a home then, wouldn't there?  And what if we eliminated the possibility of a company or government agency from exercising eminent domain on any property so that, when you pay for something its really, completely, untouchably yours?  What if we simplified our property laws to the point where we no longer had to pay lawyers and legislators to mitigate for us?
How many elderly people have been forced out of homes they paid off forty years ago, because they could no longer afford the property taxes?
When the cost of property taxes costs a person more than the cost of renting an apartment on a monthly basis would it should tell us that there is something wrong.