View allAll Photos Tagged Notebooks
went on a couple of trips; bought some souvenirs.
here is my current stack of blank notebooks. compare this with 6 months ago:
www.flickr.com/photos/52912587@N00/4213920526/
it has grown so much...
Darkroom print.
24 cm x 18 cm (9.44 in x 7.08 in)
Photographic enlarger:
Leningrad-6U
Lens:
I50U-3,5/50
Photographic paper:
Unibrom. "Slavich Company". Expired in 1990
Developer:
Phenidone-hydroquinone developer. Lviv factory "Reagent". Expired in 1994
Fixer:
Acid fixer. ''Karpov Chemical Plant". Expired in 1991
Š¤Š¾ŃŠ¾ŃŠ²ŠµŠ»ŠøŃŠøŃŠµŠ»Ń:
ŠŠµŠ½ŠøŠ½Š³ŃŠ°Š“-6Š£
ŠŠ±ŃŠµŠŗŃŠøŠ²:
Š50Š£-3,5/50
ŠŃŠ¼Š°Š³Š° ŃŠ¾ŃŠ¾Š³ŃŠ°ŃŠøŃŠµŃŠŗŠ°Ń:
Š£Š½ŠøŠ±ŃŠ¾Š¼. ŠŠµŃŠµŃŠ»Š°Š²ŃŠŗŠ¾Šµ ŠæŃŠ¾ŠøŠ·Š²Š¾Š“ŃŃŠ²ŠµŠ½Š½Š¾Šµ Š¾Š±ŃŠµŠ“ŠøŠ½ŠµŠ½ŠøŠµ "Š”Š»Š°Š²ŠøŃ". ŠŠ¾Š“ŠµŠ½ Š“Š¾ 1990Š³.
ŠŃŠ¾ŃŠ²ŠøŃŠµŠ»Ń:
Š¤ŠµŠ½ŠøŠ“Š¾Š½-Š³ŠøŠ“ŃŠ¾Ń ŠøŠ½Š¾Š½Š¾Š²ŃŠ¹. ŠŃŠ²Š¾Š²ŃŠŗŠøŠ¹ Š·Š°Š²Š¾Š“ "Š ŠµŠ°ŠŗŃŠøŠ²". ŠŠ¾Š“ŠµŠ½ Š“Š¾ 1994Š³.
Š¤ŠøŠŗŃŠ°Š¶:
Š¤ŠøŠŗŃŠ°Š¶ ŠŗŠøŃŠ»ŃŠ¹. ŠŠ "Š„ŠøŠ¼Š·Š°Š²Š¾Š“ ŠøŠ¼. Š.ŠÆ.ŠŠ°ŃŠæŠ¾Š²Š°". ŠŠ¾Š“ŠµŠ½ Š“Š¾ 1991Š³.
Notebook/journal hand covered in 1960's interior magazine pages & bound with cord & vintage button ready to post for a photo shoot
I've had this little leather notebook for years and it's never had a word written in it! I don't think I write much nowadays as everything seems to be technology driven.
Flickr Lounge - Weekly Theme (Week 26) ~ PAPER .....
Thanks, in advance, to everyone who views this photo, adds a note, leaves a comment and of course BIG thanks to anyone who chooses to favourite my photo .... thanks to you all.
Sketchbooks (pack of three).
Similar to small moleskine cahiers.
eefink
The character used on my products is licensed under full copyright, so even though he's just a stick figure, please don't copy him!
You can, however, use this photo on your blog/site/whatever as long as you credit me.
Fungus Workshop Leather Craft
I learned leather craft from a few books but I felt kind of lonely just doing things I like all by myself. Thanks to Bubi Au Yeung, a figurine artist, who told me about Fungus Workshop, so I signed up for a beginner's class, two lessons passed and I got to know stuffs I didn't learn from books, plus knowing these passionate people who enjoy life and craft genuinely, which is kind of rare in a city like Hong Kong.
Each classmate choose what he/she would like to do from a bunch of samples. I chose to do something in the line of stationery (later I will do a camera/laptop messenger bag). Their template was a notebook cover, but I decided to make it a GTD index card holder. After finishing it, I decided to add a notebook for note taking and an antique key to nostalgize the whole thing.
For all leather projects I did, improvisation in the last minute seems to add beautiful touches to a plain project. As you can see, the enclosure here doesn't wrap the back of the cover to the front, instead it leaves the back wide open so I can dangle the whole notebook or even hook it up to my messenger bag.
Instead of a Moleskine notebook, I put a Rhodia notebook inside just because of its bright orange color, to lighten up a bit. However, I hate the fact that the PU cover of Rhodia discolored after just 6 months from my acquisition of it. In addition, it just doesn't lie flat like a Moleskine does when opened. Anyhow, the discoloration did added the raw and battered look I like.
For those of you who are in Hong Kong and hunger for leather craft, I highly recommend Fungus Workshop. Hoiming and Baldwin, Grace and Philip, all four are friendly souls you can chat with and learn from. I am so happy Hong Kong is catching up with Japan and Taiwan in leather crafting. Keep it up Fungus!
More on Scription blog: scription.typepad.com/blog/2010/07/fungus-workshop.html
One in a series of new handmade notebooks I've been working on. This one features vintage wood type spelling WRITE! Typescale
It was all I could do to politely keep my distance while she leafed through her notebooks. Surely there's a way for me to make a good living off my obsession with handwriting, journal-keeping, and secrets. Isn't there?
A friend of mine wanted to know how I was taught to layout a field book. It's a simple process by which you can use almost any notebook for most forms of field research. I learned this technique when I was in Archaeological Field School at Ohio University almost a decade ago. You could use this format for:
1. Journaling
2. Writing
3. Class Notes
4. Field Research
All you'll need is a lined notebook (or graph), some colored pencils and a ruler.
I always stuck the ruler in the back of the notebook because I had to lay out a grid in the notebook in case we found something on the site.
1. Lay the ruler against the outside edge of the notebook and draw a red line down page. For sake of ease, I would just draw the line the width of the ruler since it was usually plenty of space for what I needed in the margins.
2. In the margin that you've created, you can record whatever headings you need to outline the entry. When I was doing archeology, we had to record the date, what plot we were on, what level, etc. If you were using it for class notes or story ideas, then you can change the headings as you see fit.
3. Alternate the colors of pencil you use for the various functions in the layout. I usually used a blue pencil to divide one entry from the next as it was a good visual cue. The body of the text was written however you wanted it to be and along the margin I would list any buzzwords that I knew were important from the entry. This could be anything from a "buzzword" in a conversation, a vocab word from a class' lecture, or something that you would need to easily reference.
I would circle the buzzword in the margin and point to the entry that spoke of it. Usually this was done in green.
4. Anything that was a follow-up to what you were writing about, a to-do, was added and marked with a yellow pencil.
Since it was troublesome to carry a lot of colored pencils with me in the notebook and a bit too complicated to use them while entering the data in the field they were usually used when I got home as a follow-up.
I would usually mark out the margins of a few pages in advance of where I was in the notebook so that I had plenty of room to write. Inside the book itself I would stash a green pencil since that was the color I used to mark anything important on the page.
You could easily substitute the use of colored pencils for high-liters if that's what you like
Terrier motif printed on a design classic Moleskine Cahier Pocket Notebook.
The image was printed using a Gocco, a tabletop Japanese screen printing system. Inky blobs and smudges are part of the process :)
Have had several people email me an' comment about my luck on finding the right light, scene, objects, etc. Here's my "luck"; a notebook I keep on my truck seat when I'm traveling. I've gotten fairly good at writing in it, while driving, without looking at the page...
The notebook laid out on the floor, approximately four metres long. This will be part of the WOA exhibition "Red" this opens on 6th February 2016.
The 'Red Notebook' is a series of woodland studies. Each book is about four metres long. These works are a development of my recent 'plein air' paintings and concern both memory and observation.This work is comprised of two concertina notebooks drawn in mixed media, using ink, gouache, graphite and charcoal. The basis for these two scroll-like drawings is Simon's Wood near Crowthorne, Berkshire and Badbury Clumps near Faringdon. Much of my work between 2011 and 2015 was painted out of doors ('plein air') with no reference to photographs or subsequent studio alteration. These drawings, although largely begun from observation, were worked on over a longer period of time, each taking on their own life. By using touches of red and rose madder washes I was able to pick out certain characteristics of the winter woodlands. The mark making was also an emotional and even physical response to the immediate environment. Unlike my recent paintings they do not employ one vanishing point but rather are like a frieze which can envelope the field of vision. I placed both works on the ground within the woodland. They actually became wet with the raindrops and were in some way connected with the place that a purely imaginary work could not be. Both works are slightly different in technique, one more fiery and the other slightly more subdued. They were painted and drawn in January, which this year has been unusually warm and wet. Like much of my work, they concern atmosphere and an engagement with the natural world.
The brighter of the two drawings also connects the tree and undergrowth forms with Red Coral or maybe human veins and blood. However, I don't see either work as overtly symbolic or necessarily a comment upon contemporary events. It remains my concern to express nature in as vital and vibrant a way as possible and to fully engage with the experience of looking hard at what's out there. I like the idea that a drawing like this can be cinematic and without a beginning or an end, that the work can envelop and absorb which is akin to one's experience in the woodland itself.
Martin Beek 2016