chronicled & illustrated

Last post I was speaking of being immersed in SL so I thought I’d post this photo of Aplomb inappropriately dressed in a pool owned by one of my neighbours. The outfit is one of my early designs. It needs work but I still like it.

I was totally caught off guard by how many things there were to learn about designing clothes in SL. I’ve been slogging my way up the steep learning curve for the last two months. Now I feel I’ve definitely crested and am enjoying the ride (though I have no doubt there are many other hills in front of me.)

Designing in SL is mainly done off-world on my computer. I use both Paint Shop Pro and Photoshop Elements. Not because I recommend that but because that’s what I have. In fact, my Photoshop Elements is an old version and that’s probably why I need both. It’s working but I have to flip the images back and forth, so a new PS version will have to come my way at some point.

Most of the blouses, pants, regular skirt and jackets are drawn in a graphics program. For that reason, even though I’m spending a lot of time on this SL activity, I’m not logged into SL that much. I’ve learned an amazing amount about using the graphics programs in two months. Many of the formerly mysterious terms (alpha channels, for example) have now become tools of my trade. This has given me an almost daily need for the digital tablet I got last summer. I’m still in the process of learning the trompe l’oeil techniques that make the clothes look *real*—but I’ve come a long way.

There are two other ways of designing SL clothes. The first one is done in-world. In SL, residents build things—the houses they live in, the trees, roads, airplanes, pets—by using basic shapes called “prims” (short for primitives.)

Basic 3-D shapes such as cubes, spheres, cylinders, cones etc are manipulated and linked to other shapes and texturized to make up what you see in the world. Some clothes are made with prims.
The “flexi skirts” that move with your avatar and react to the physics of the world are constructed in-world. This was another learning curve.

Thirdly, there’s a type of construct that is a combination of a graphics program and in-world build and that’s the sculpted prim. In these, you design a three-dimensional object on your computer, upload it to SL, rez a prim, put the uploaded bit-map into the prim and *voila!* your design appears in SL. I’m still a real beginner at this but it’s good for making accessories to outfits such as belts, scarves, hats and so on. I had great fun making a martini and a top hat to go with a design I call Tuxedo FUNction.

Aplomb having her first martini; the chair she’s sitting in is one of my sculpted prims.

So those are the basics of fashion design in SL. So good-bye for now and I’ll leave you with Aplomb in one of her outfits—looking pretty darned sassy.

window
Originally uploaded by nuanc

I love this little blog. I started it in full expectation of NOT posting often enough and then I did pretty well with it.

I am not a consistent person. Moodiness is so much a part of my genetic make-up that I am always astounded to learn that some people aren’t controlled by their mood-of-the-day. I’m drawn off task by not only moods, but also by the newest shiniest activity that catches my interest. And yet, I almost always return to what I love. And this blog, I love.

It feels like me, she said, shyly.

Fertile, then fallow, quiet without being private or secretive, heart-felt and earnest but with tongue-in-cheek.

Inconsistent. Also ambiguous. Moody.

January was a real up and (mostly) downer. I started an overly ambitious writing project that didn’t last more than two days. That led to a slump which caused me to seek solace in mind-numbing computer games, an obsession from which I haven’t fully recovered. There were other things. Emotional snowfalls began piling on, adding layer after layer of weight. Because it wasn’t a blizzard but a steadily growing accumulation of tiny things, I was unaware of what was happening.

I’m on the mend. Writing this is part of my recovery. I love this blog. I must do it more often and then I will remember other things that I love doing and I will rediscover the path to feeling that. Then, I’m sure, I will also get excited about the next new shiny thing that catches my interest. I can do both when I’m occupying the busy part of my life.

The illustration is of winter taken through the old stained glass panels in the stairwell of our house. Part of it I can see through and part I can’t and that is Like Life.

Hugs all ’round.

It’s going well.

I’m staying on track with the word count. It’s a little scary because I have no cushion but maybe that will come in the loveliness that is (usually; if your lucky and good) Week 2.

What?
We’re already days into Week 2?
oh my.

Yesterday one of those moments we writers live for happened.

I was doing something else. Not writing. Not thinking about writing, though I guess my mind was wandering over the literal landscape of the novel-thus-far, and without warning, an IDEA came. Whew. So great. This idea is so perfectly good and unexpected. It gives me real, plot-driven reasons to continue what I’m doing and will tie this (the third) book into the histories of the first two with such symmetry and excellence that it has left me with the FEELING that I know what I’m doing after all.

HOORAY!!!

It’s all illusion of course (that I know what I’m doing), but we writers don’t care. We love illusion.

Must. Go. Write.

In addition to that fancy camera, I got a computer drawing tablet and pen for my birthday.

I KNOW it’s going to be extremely useful
—especially once I get the hang of it—but so far, all I can think to do is play with it.

Not that there’s anything wrong with that.

This is one of the things I’ve done. It’s a doodle. An experiment with letters and other marks that could be letters. It was fun to do and as such, it feels as if I’m using my new tool (”For the serious photographer, designer and artist” the package states) as a toy. At what point do I begin to feel serious about it? My husband often asks when inquiring about what I did on a certain day, “Were you working or playing?”

Whew. That’s a tough one to answer. If I enjoy my work, does that mean it’s always play? If I usually enjoy my work but am dealing with a challenging problem, then is it work? Or if I am doing art for no one and no reason, but am frustrated by it, does that mean it’s work? Is doing art for no reason ever anything but play? Where’s the line between a “serious tool” for serious creative types and a toy for someone who’s “just playing?”

Ahh, I don’t care. It’s just my brain playing with words, isn’t it? And some days, that’s what art and work is all about.

mirror image,
originally uploaded by nuanc.

I have a great new camera. I’ve always dreamed of one day getting a really good camera but put it off and off even when digital made photography immediate and playful and when the internet made it possible to share and get comments from people all over the world. I put it off because I have a superstition about getting good/expensive equipment. It sometimes signals the death of a creative era.

It may be a superstition, but it may also be learning. Years ago, not long after purchasing a huge roll of canvas and being given a fancy wooden easel, I stopped painting.

The problem is: you get the fancy equipment and suddenly there are expectations of producing something excellent. Suddenly it’s changed from: see what nice results I can pull off with my simple digital camera? to: if I can’t get fabulous results with this camera, I’ve wasted the money and let myself down. Suddenly the playfulness leaves and Things Get Serious.

I’m not letting that happen with this camera. It’s just the reason I put off getting one. The only way I could truly let myself down with my new camera is if I fail to use it. If the last week is any indication of future use, it seems I’m likely to be at the opposite end of that extreme. I’ve taken hundreds and hundreds of shots and the word “obsession” has been used several times.

But this all is a reminder of the kind of mental distortion that can happen around creative endeavors.

Anyway, as it happens, I am drawn to visual distortion. The photograph I used today is one taken with the new camera. It’s a view of my office area reflected in an old, cheaply-made mirror—thus the funky distortion. It’s my reminder that even if I’m still getting quite a few out of focus shots (it’s only been a week AND I don’t have a tripod yet!) that my photographs will always reflect my own vision of the world, distorted or otherwise.

After hours and hours of work over the last two and a half weeks, I have only one page left to finish (and—oh well, yeah—thousands of tiny adjustments and corrections)

Three books in the works (Galveston, Causeway and Nova) and none of them are thrilling me.

Just heard about this technique from a friend; I decided to try it on my mysterious leg pain since “western” medicine isn’t offering a cure. whatthehell…

the ins and outs of the Nikon D80 AND a computer drawing tablet and pen!

attention span,
originally uploaded by nuanc.

Summer isn’t good for concentrating. Maybe it’s the leaves rustling or the birds singing or the clouds rolling by. I’d say it’s the heat, but here in Nova Scotia, we haven’t had any yet. It’s summer’s long days of sunlight that can both seem to last forever and pass by in a flash. The on again/ off again activity level. Hurry up and relax.

This is a piece I did the other night after having put a big push on to get several end of the month articles published in the zine followed by the subscriber’s email update. I needed a creative activity that was involving without being involved. For several hours I immersed myself in my photos and photoshop. (I don’t really use Photoshop. For this kind of photo manipulation I use a super simple product called ArcSoft Photostudio. Easy and quick.)

I keep way too many of my digital photos. That’s because I use many of them in these layered art pieces and it’s hard to predict which will be useful later on. I’ve always enjoyed the idea that there are no failures—only the raw material for other kinds of art. I used to tear up paintings I didn’t feel were successful. Then I’d use the wonderfully torn fragments as collage material for others. This is the same.

For the next week all my attention will be with my childhood friends who’ll be visiting from Texas. We’ll laugh.

Tra la~~~