I only post recipes that I make up and are simple, easy, and cheap. I’m a terrible cook because I’m impulsive, lazy, and AADHD.
However, this one usually works:
- Half a cabbage, cut up however you like it. I sliver mine with a razor sharp Global.
- 1 TBs Sesame Oil
- 2 TBs Rice Vinegar
- 1 TBs Black Pepper
- 1 Ts Salt
Mix it all up and eat it now or wait until it gets even better.
Finally figured out a reason to like this thing.
I stopped using function keys for years, once it became necessary to hold FN to modify them so you weren’t, like, turning the volume down.
Sure, you could set it up so they would behave normally, but then you had to hold FN to, like, turn the volume down.
The new keyboard settings lets you have them switch automatically. If I’m in Adobe, editing code, or anywhere I use them heavily, they switch on by default. If I’m browsing or doing less work-productivity stuff, it switches back.
Now if I can only muscle-memory my pinking from accidentally resting on that ESC key all the time…
This is for my Uncle Billy. He’s not feeling too great so I’m sending it to him.
Small gouache and graphite on arches paper
I have a bunch of birds that hang out in the trees outside my studio window. I got my good camera geared up with a zoom lens and I try to take photos when I see them. Still getting used to the camera, so expect improvements over time. Here’s the latest:
Took some picks for my sister of old stuff I did. Here are a couple I forgot about.
We’re in an odd place with the whole typography thing.
Most people who look at computers on a daily basis have an idea of what fonts are. They just have no idea about how beautiful they can be.
The reason is that screens suck. They are either too low resolution (we can see the pixels) or too tiny (phones). And everyone reads screens nowadays, not paper.
Screens have sucked forever. Just that word, “screen“, is nasty. It’s like a mesh, or a veil; something you have to look through to see the real thing.
If you want a good screen, you’d better be rich. Which is why typography as an artform still only exists in print. If we remove the barrier of location, which the screen claims to have done, artwork should be look the same to anyone, anywhere, at any time.
Put the same printed piece in someone’s hands, regardless of this restriction, and she will see the same thing. Stand in front of a painting, sculpture, heck–even digital art, and you see the same thing as anyone else in the gallery. Share a link to your design on behance, dribbble, or your website? Forget it. Everyone’s seeing something different, and most of them are seeing garbage.
Print is inherently ubiquitous. Physical location and space is definable. Screen is nowhere near being able to make the same claim. Screens suck, and it’s pointless to use it as a forum to discuss typographic merit of any design until screens get better, way better.
This was one of the first techniques I learned when I began art school, back in fall ’89.
It was eye-opening. For the first time, I wasn’t responsible for every nuance that came along. The surface dictated what marks were left. Suddenly, I felt a sense of freedom from that burden of decision in art; micromanaging every line, discrediting hours of work based on unsound logic, those things were no longer mandatory.
I never recognized the role this technique played in my development as an image maker. Maybe the school I attended (SUNY Buffalo) was enamored with stuff built with frottage, or maybe it was the current “flavor of the day” in the academic art world. I never stopped using it, though.
A couple more paintings from this summer, based on memory of the busted up pier that juts out into the point at Crystal Beach, Ont.
I’ve done a fair amount of these over the years. About time I put them all in one place.
Some drawings I did in summer 2016, trying to come up with a logo or t-shirt idea for the Bay Beach Club in Ontario, Canada.