Gray's body was found in the East River. It didn't sound good when he was first
reported missing a couple of months ago. He'd tried suicide before, and it
looks like this time he just stepped off the Staten Island Ferry into the icy
water. Mercifully, hypothermia would probably have taken him very quickly.
I think drowning is a particularly horrible way to die.
Upon hearing the news, I started remembering his monologues, and his enormous
talent. He could make you see things vividly with just words. I was
even more disappointed that I'd missed his last show at Lincoln Center a couple
Then I thought
what he did for me. I wonder how his family is dealing with it. I wonder if
finding the remains really brings closure.
Getting attention and selling stuff on 8th Street
My kinda t-shirt
Happily, I'm Proven Wrong
I've printed more than 20 sheets of 8.5 x 11 and 3 sheets of 13 x 19 on the 2200
since I replaced the light magenta cartridge. At that time, I'd gotten a message
print 4 more images like the previous one before I ran out of black ink. I
figured all the other inks weren't far behind. So far, I haven't had to replace
anything else. Now the cost per print is starting to look more like $2.50 than
$4.00. I like those
I'm having a blast working with print. A number of my prints have benefited
from selective adjustments – I've been making masked selections to apply adjustment
layers with. The masks can be reworked as needed, allowing me to
“paint” the adjustments into place, and the layer-based adjustments aren't
permanent; I can tweak the settings as much as I like.
I'd never painted a
mask in the channels
palette before, but I certainly will
be doing that a lot in
I've often found quick masks to be a little iffy as a selection tool. It's
probably because you're working in translucent red over a colored background,
you don't always get a good color contrast. In the channels palette, you're
painting over a gray scale image, so it's all
and distinct. Why would you care? Consider the possibility
of having a situation where you want one
edge of your selection to be razor-sharp, while another has complex
feathering. A carefully constructed mask is the best way to get something like
Loch Ness was getting overrun with paparazzi,
more opportunity in America
Learning about consumables
I used up my first light magenta ink cartridge yesterday. The utility application
says I have about 3 more prints' worth of black. It looks like I have a little
less light black and light cyan, but usage depends on the color balance of
the print, and I suspect black will run out first. Including botched prints,
I've used about 20 sheets of 8-1/2 x 11 and 2 sheets of 13 x 19. Most of the
prints were at 1440 dpi, but I don't know how much that affects ink usage.
At that rate of consumption, I understand why most of Epson's premium photo
papers come packaged in lots of 20 sheets – you're likely to use up all your
ink before you reach 40 sheets. An ink cartridge bundle goes for roughly $70,
bringing the total cost for 20 8-1/2 x 11 prints to about $80, or $4.00 a print.
With more experience, I figure my numbers will get a little more precise, and
I may even find some ways to shave those costs a little.
I'll keep that in mind when I look at output services, and when I make any
prints for people.
I joined a drawing class
last week. I can remember deciding that I couldn't draw in 5th grade art class.
I tried to copy a statuette, and the proportions came out horribly. The whole
thing was just wrong. At the time, I couldn't really appreciate that some of
the details were good, and that I actually
an eye for contours. It wasn't
the first time I'd had those proportion problems, but that statuette was the
final proof of my ineptitude.
I became fascinated with mechanical drawing and model building – systems that
allowed me to rely on tools and pre-built elements to produce a respectable
result. Over the years, I played with all kinds of t-squares, protractors,
once the Mac came along. The results were mechanical at best, and certainly
not what I would call artistically nuanced.
About 8 years ago, I picked up “Drawing on the Right Side of the Brain” and
started doing the exercises. I know that, because I dated the entries in my
sketchbook from back then. I stopped and started several times over the next
couple of years, until I got
to me that I was capable of drawing well, I just needed practice, and perhaps
the right kind of instruction.
So, I signed up for a course at the New
Studio School. Just walking into the original site of the Whitney Museum
is interesting in its own right, but the class is exceptional. My instructor
is engaging and interested in the work that we're doing. It's clear that he wants
to pull the best out of us.
My first encounter with him was in the midst of about my sixth sketch. He
quietly said, “find the center first,...” and he went on to explain how I'd
be able to get the proportions and the structure of the drawing faster and
more accurately that way. He did some doodles on my page to demonstrate. At
some point he said “some of this won't make any sense right now,...” and he
But, I was hooked, and by just crudely applying what he'd said about finding
the center and sighting my measurements, my drawings got better that night.
Several times during the class, he mentioned the Linea Alba, and said
it was a very important line. I expected it to be an art term, but it turns
out to be an anatomical
reference. While I liked anatomy and biology in high
school, I didn't see how studying skeletal structure and musculature would
help me draw any better. Now, I think those “anatomy for artsits” books will
sense to me.
He said “the drawing is changing you,” and encouraged us to make a mess, as
we are all engaged in developing our “plastic consciousness.” That night, I
started to look at the model in three dimensions, observing the movement of
ribs, hips, shoulders, and arms. I started looking for axes and relative positions,
and thought a little less about lines per se. I became aware of the rhythm
of my drawing.
To be continued...