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sketch to inks... finished colors can be seen here: steamcommunity.com/sharedfiles/filedetails/?id=246977555
Process 4.5 is the first in a series of special edition Process publications. Printed in only black on lighweight 70gsm Bond, Process 4.5 purposely contrasts the usual high production qualities of the quarterly journal, as well acting as a platoform to experiment with different formats and production techniques. The publication's content is a reflection and retrospective of the first four editions of Process Journal. Consisting of three major parts, the first a comprehensive essay written by typographer and design-lecturer Brad Haylock. The second a typographic analysis of each of the typefaces featured in editions one to four, including type samples and specimens. And finally, we asked a selection of contributors from editions one to four the simple question: ‘what is your process’. Including responses from Brett Phillips (3 Deep Design), Michael C. Place (Build), Mason Wells (Bibliothèque), Tom Crabtree (Manual) and Tony Brook (Spin).
This print is for a doll quilt swap I am in (i hope she likes pink!). It was made using the contact paper method of screen printing(there are 3 layers) on top of a vintage print my aunt gave me and uses fabric ink to make sure that is is washable.
Another chestnut tree blooming.- This one is in Vilnius, Lithuania the oldest part of the city
exposure:
3 min at f/16 overcast/sunny (EV 14-16) 11. am May 16th, 2016
Little recoding. Trying to figure out why the particles got so spastic when near the shell of the central orb in older builds. Think I fixed it and to show the stability, threw a couple hundred particles into the space to see what architectural forms they would create.
Headwaters Energy's Covol Fuels 3 Crockett Coal Processing in Crockett, KY was quiet when I visited the area.
Using Peter Kirkeskov Rasmussen's photo 'return the cart' as the source [ www.flickr.com/photos/peterras/15732813631 ] & a bit of Processing code to swaps blocks of pixels inside the image continually . . . the little app creates decay in the image. I'm continuing a series of works meditating on forgetting, recognition, loss, avoidance, etc.
I did not know.
I did not know, that when a drummer's drum pedal is pressed that the position of where the mallet head strikes the drum head- can affect the sound.
Apparently- if the mallet strikes precisely at the drum heads center- the sound is optimal-
richer and "bass-ier" than striking off center, where the factory pedal causes the mallet to engage the drumhead.
So- what to do?
Either, lower the Pedal, or raise the Drum head higher.
Sounds Simple- right?
Simple, as we've discussed earlier kids- ain't always so simple.....