Pequena coleção de minhas bruxuleadas.
Add a Comment
Pequena coleção de minhas bruxuleadas.
October 2014: 9 books and scripts read
Recommended for Teens
Hit by Lorie Ann Grover
Girl on a Wire by Gwenda Bond
Recommended for Kids
Sisters by Raina Telgemeier
Wishing all of my readers a safe and happy Halloween!
Junket is a milk-based dessert, made with sweetened milk and rennet, the digestive enzyme which curdles milk. It might best be described as a custard or a very soft, sweetened cheese. And in Junket is Nice, an old man with a red beard and red slippers is eating it from a very large, red bowl.
When all the people of the world assemble around him, he asks them to tell him what he’s thinking. The first one to guess correctly will get something nice. But first he tells them three things he’s not thinking of. As they all make their guesses, a young boy on a tricycle watches and thinks.
Junket is Nice is pure absurdity and nonsense in a whimsical package. It’s filled with repetition, silly pictures and concepts, and too much food at one time. Originally published in 1933, this classic has been out of print and only recently reintroduced by the New York Review. If this was one of the best-loved books on your childhood bookcase, it’s time to share it with your own kids.
Reviewer: Alice Berger
We’ve been engaged in a rewatching of The X-Files here at Stately Beat Manor for the last few months and wow, does it hold up. Not only does it hold up, but it totally points the way forward to today’s golden age of television with superior acting, writing and production that strove to look different and not homogeneous. As great as a show like The Rockford Files or Cheers was, they were based on a template of how a TV show should act and move. The X-Files made its own template and changed the way everything would be done afterwards. Although Twin Peaks may have been the first show that truly broke the mold, it was also a victim of its own success. Chris Carter—and his crew of future show runners including Vince Gilligan—was able to stand out while keeping an audience on the always panicky fledgling Fox Network.
Aside from a few shoulder pads here and there and the lack of cel phones, The X-Files is as fresh and immediate as the day it aired. Many of the real life dangers it wove into conspiracies are just as threatening now; many of the mysteries just as unsolved. The writing is brilliant (okay we’re only up to season three) and the characters of Fox Mulder and Dana Scully are new archetypes of the internet world to come. Dialed in, sometimes detached by the sheer flood of information, armed with information along with a gun.
The X-Files grew up with the internet, with rabid fan groups on usenet, and the birth of serious “shipping” that not only matched the obvious ones—Scully and Mudler— but alternates like Krycek and Mulder. The Lone Gunmen—three oddballs who knew how to surf on UNIX— were the first internet nerds, and the show adopted as its signature color the acid green of the flashing cursors of the first home computer screen.
As for Scully and Mulder, while it was obvious that someday they would hook up, they also stood for the most egalitarian duo in pop culture since…The African Queen? Each with quirks and backstory, Mulder revelled in his weirdness and Scully, instead of running away from her giant trenchcoat and perfect red lipstick, made it the sign of a competent, inquisitive FBI agent who could take care of herself and those around her in scores of crazy situations.
The X-Files is truly in the Halloween and the TV hall of fame.Add a Comment
One hundred years ago today, far from the erupting battlefields of Europe, a small German force in the city of Tsingtau (Qingdao), Germany’s most important possession in China, was preparing for an impending siege. The small fishing village of Qingdao and the surrounding area had been reluctantly leased to the German Empire by the Chinese government for 99 years in 1898, and German colonists soon set about transforming this minor outpost into a vibrant city boasting many of the comforts of home, including the forerunner of the now-famous Tsingtao Brewery. By 1914, Qingdao had over 50,000 residents and was the primary trading port in the region. Given its further role as the base for the Far East Fleet of the Imperial German Navy, however, Qingdao was unable to avoid becoming caught up in the faraway European war.
The forces that besieged Qingdao in the autumn of 1914 were composed of troops from Britain and Japan, the latter entering the war against Germany in accord with the Anglo-Japanese Alliance. The Alliance had been agreed in 1902 amid growing anxiety in Britain regarding its interests in East Asia, and rapidly modernizing Japan was seen as a useful ally in the region. For Japanese leaders, the signing of such an agreement with the most powerful empire of the day was seen as a major diplomatic accomplishment and an acknowledgement of Japan’s arrival as one of the world’s great powers. More immediately, the Alliance effectively guaranteed the neutrality of third parties in Japan’s looming war with Russia, and Japan’s victory in the Russo-Japanese War of 1904-05 sent shockwaves across the globe as the first defeat of a great European empire by a non-Western country in a conventional modern war.
In Britain, Japan’s victory was celebrated as a confirmation of the strength of its Asian ally, and represented the peak of a fascination with Japan in Britain that marked the first decade of the twentieth century. This culminated in the 1910 Japan-British Exhibition in London, which saw over eight million visitors pass through during its six-month tenure. In contrast, before the 1890s, Japan had been portrayed in Britain primarily as a relatively backward yet culturally interesting nation, with artists and intellectuals displaying considerable interest in Japanese art and literature. Japan’s importance as a military force was first recognized during the Sino-Japanese War of 1894-95, and especially from the time of the Russo-Japanese War, Japan’s military prowess was popularly attributed to a supposedly ancient warrior spirit that was embodied in ‘bushido’, or the ‘way of the samurai’.
The ‘bushido’ ideal was popularized around the world especially through the prominent Japanese educator Nitobe Inazo’s (1862-1933) book Bushido: The Soul of Japan, which was originally published in English in 1900 and achieved global bestseller status around the time of the Russo-Japanese War (a Japanese translation first appeared in 1908). The British public took a positive view towards the ‘national spirit’ of its ally, and many saw Japan as a model for curing perceived social ills. Fabian Socialists such as Beatrice Webb (1858-1943) and Oliver Lodge (1851-1940) lauded the supposed collectivism of ‘bushido’, while Alfred Stead (1877-1933) and other promoters of the Efficiency Movement celebrated Japan’s rapid modernization. For his part, H.G. Wells 1905 novel A Modern Utopia included a ‘voluntary nobility’ called ‘samurai,’ who guided society from atop a governing structure that he compared to Plato’s ideal republic. At the same time, British writers lamented the supposed decline of European chivalry from an earlier ideal, contrasting it with the Japanese who had seemingly managed to turn their ‘knightly code’ into a national ethic followed by citizens of all social classes.
The ‘bushido boom’ in Britain was not mere Orientalization of a distant society, however, but was strongly influenced by contemporary Japanese discourse on the subject. The term ‘bushido’ only came into widespread use around 1900, and even a decade earlier most Japanese would have been bemused by the notion of a national ethic based on the former samurai class. Rather than being an ancient tradition, the modern ‘way of the samurai’ developed from a search for identity among Japanese intellectuals at the end of the nineteenth century. This process saw an increasing shift away from both Chinese and European thought towards supposedly native ideals, and the former samurai class provided a useful foundation. The construction of an ethic based on the ‘feudal’ samurai was given apparent legitimacy by the popularity of idealized chivalry and knighthood in nineteenth-century Europe, with the notion that English ‘gentlemanship’ was rooted in that nation’s ‘feudal knighthood’ proving especially influential. This early ‘bushido’ discourse profited from the nationalistic fervor following Japan’s victory over China in 1895, and the concept increasingly came to be portrayed as a unique and ancient martial ethic. At the same time, those theories that had drawn inspiration from European models came to be ignored, with one prominent Japanese promoter of ‘bushido’ deriding European chivalry as ‘mere woman-worship’.
In the first years of the twentieth century, the Anglo-Japanese Alliance contributed greatly to the positive reception in Britain of theories positing a Japanese ‘martial race’, and the fate of ‘bushido’ in the UK demonstrated the effect of geopolitics on theories of ‘national characteristics’. By 1914, British attitudes had begun to change amid increasing concern regarding Japan’s growing assertiveness. Even the Anglo-Japanese operation that finally captured Qingdao in November was marked by British distrust of Japanese aims in China, a sentiment that was strengthened by Japan’s excessive demands on China the following year. Following the war, Japan’s reluctance to return the captured territory to China caused British opposition to Japan’s China policy to increase, leading to the end of the Anglo-Japanese Alliance in 1923. The two countries subsequently drifted even further apart, and by the 1930s, ‘bushido’ was popularly described in Britain as an ethic of treachery and cruelty, only regaining its positive status after 1945 through samurai films and other popular culture as Japan and Britain again became firm allies in the Cold War.
Headline image credit: Former German Governor’s Residence in Qingdao, by Brücke-Osteuropa. Public domain via Wikimedia Commons.
As they did last year, the Study Group cartoonist have rolled out a whole week of seasonal comics including:
…and many more. Enjoy!Add a Comment
This highly acclaimed book is the first in a new list of books on writing craft from Finch Publishing, designed to complement our search for the best in Australian life writing through the Finch Memoir Prize. In Writing Without a Parachute respected writing teacher Barbara Turner-Vesselago shows both beginning and experienced writers how to get the […]Add a Comment
Lauren-Susan Thomas currently illustrating children’s books, on the foggy Central Coast of California. She earned my BFA in Illustration at the University of Arizona, worked as an illustrator/designer since graduating in ’87’ and worked as a ‘Walt Disney Imagineer’ for 11 years creating themed dimensional graphics and illustrations from creatures under the sea mermaids to dinosaurs to ancient Tibetan ruins.
She has illustrated for, BabyBug magazine, Kids Reading Room LA TImes and an up coming book series, ‘Reid’s Amazing Universe’ the first of which is out on ibooks for children.
Here is Laura-Susan discussing her illustrating process:
I had to share Laura-Susan’s cute little studio. It is only a few yards from her house.
How long have you been illustrating?
I have been Illustrating since graduating from college, way back in 1987, but drawing since I was a kid. I doodled on my notebooks, school assignments and was forever thrilled when my elementary teachers uttered the word, Diorama. My dad would bring home reams of old spreadsheets from his work and I would draw on the backsides. My favorite thing to draw were characters and the worlds they inhabited in my imagination, which without realizing was a great primer for the storytelling and world building later at Disney and the children’s literature world.
What made you choose to you study art at the University of Arizona and get your BFA?
I always knew I wanted to be an artist, but I also loved archeology and the romance of ancient civilizations, so I chose U of A because they had a strong Fine Arts department and a renowned Archeology Department as well! I actually was able to combine some of my love for archeology and old civilizations with art and when I was at Disney Imagineering on some of the lands I worked on.
Have you taken any other art related courses after that?
Currently I am very excited and inspired, in August I started with EB Lewis in his “Visual Mentor” program. It has been such great opportunity and chance to learn and expand the feel and look of my artwork!
After graduation form college, I took some animation courses and many figure drawing courses. At Disney they encouraged their artists to keep learning and offered free Wednesday figure drawing sessions after work. I went back to school while at Disney in the evenings, for computer arts, learning vector based and digital based tools for the arts, photoshop and illustrator.
What was the first painting or illustration that you did where someone paid you for your artwork?
The first legit paying gigs I had were in College. I created the character/mascot for a yearly triathlon in Tucson, A buff bike riding, running swimming frog and I painted the billboards for the drama theater on campus for a time and did some summer theater backstage work.
What type of job did you do right after you graduated?
I worked for a screen printer creating graphics and designs for surf wear and clothing.
How did you get the job with Disney?
I applied through an industry ad for a screen printing fine arts separator. It was my fine arts background and my first job in screen printing that helped me get the job at Disney Imagineering. Our department produced the final hand done separations and the fine arts Serigraphs and posters for the parks. From there I moved on and worked in the Graphic Design department as a comp/production artist, and later as a Designer and Illustrator. As an Imagineer you are part of creating essentially the worlds biggest stage sets. Being an artist at Imagineering was a fun, nontraditional, imaginative, job. As a designer, you had the honor of working with, Blue sky designers, writers, architects, interior designers, props, sculptors, robotics experts and more. I got to be part of creating all sorts of things, from themed ancient tibetan ruins, giant carved fish characters, to dinosaur paintings and mermaids, in Euro Disney, Disney’s Animal Kingdom and Tokyo Disney Seas.
How did you decide you wanted to venture into freelance art projects?
In 1996, my husband, Hariette (our pet rabbit) and I took a a chance and an adventure and made our way from Los Angeles up to the little surf towns, ranches and rolling oak covered hills of the Central Coast of California. I continued to work for Disney full time from afar. I was one of their first full time telecommuters back in the age of dial up, conference calls and Fedex, painting away in my foggy studio. Our Fedex planes here were prop planes and our post office was actually in the back of hardware store and I admit many conference phone calls were done while working, wearing my “casual attire”. FaceTime did not exist yet thank goodness. It worked wonderfully and I would drive to LA once week and travel to job sites in Florida for many years. When my daughter and later my son arrived I took a break from travel and full time work, it seemed the perfect time to start working on a freelance basis.
Do you think Disney influenced your style?
Imagineering was all about backstory, telling the tale of the place through characters, through writing, props and themed space, that helped a guest believe they had gone from reality to another world. I think that idea greatly influenced my work and I love to be able to create art for books, that transports someone to a world they believe in and get to play in for awhile.
When did you decide you wanted to illustrate for children?
I attended a Conference in Marian Del Rey when the SCBWI was SCBW and was hooked. I began collecting children books before I had kids. When my kids were school age, I jumped in full time. Five years ago. I Attended a conference in LA, met a circle of friends who later became our fantastic illustrators critique group! Between my critique group and all the amazing people I have met through the SCBWI, I am so excited to be a part of this community!
What are you doing to help connect with art directors and editors?
I have postcards and a website with childrensillustrators.com and Carbonmade, and try to keep up by reading industry blogs. Attending conferences and smaller SCBWI events and participating in portfolio reviews whenever they are offered and portfolio showcase through the LA conference.
Have you put together a portfolio and or a book dummy?
Definitely a portfolio online and a real world portfolio. I try to update both when I have new work. Sometimes I make small dummies for ideas I am working on. It is a interesting process and great way to really see how your work flows with the page turns.
Have you done any illustrating for children’s magazines?
I had the opportunity to do a cover illustration and a full spread for Babybug Magazine. As well as Magazine work, I produced illustrations for some of the short stories featured in the, Los Angeles Time’s Kids Reading Room. It is fast turnaround but fun to focus so intently and figure out how to tell a story in one illustration.
Do you have an Artist Rep. to represent you? If not, would you like to find representation?
I don’t have an artists rep., but I would love to find representation.
What types of things do you do to find illustration work?
I tend to be a bit of a very shy, nerdy, introvert so Social media and self promotion are the hardest parts of children illustration for me. I know it is important though so I try and get out there at conferences and talk to people, make connections, get my work into portfolio reviews and such. Sending postcards, is an introverts best friend! A great way to reach out and have your work be seen from afar. So far I have only met wonderful nurturing people in this field, so for my fellow artists introverts, take the leap and put yourself out there and take chances, it does pay off!
What is your favorite medium to use?
For sketching I love regular old black ball point pens. The cheaper the better. I find when you sketch with a medium where there is no eraser and no “undo” it frees you up. I also love that you can get so much variation in line and shading with those old crummy pens. For finished work, I love to work in gouache. and pen and ink in the real world, Corel Painter and my Wacom in the digital world.
Has that changed over time?
Yes, Since the recent ebooks series I worked on was going to have some animation, I wanted to be able to manipulate the art on layers. I started using Corel painter and a wacom tablet. I love the way you can mimic real world art mediums and still maintain layers and experiment. I still start with those old crummy pens and pencil in the real world even when I am going digital. It still feels fresher to me.
What do you consider is your first big success?
BabyBug was exciting, to be able to do not just create a spread but also the cover art for a large publication was wonderful! It was happy dance day!
How did that come about?
I think getting your work out there with websites and postcards. The art director at Carus Publishing had seen some of my work and when a job came along that matched my style, she contacted me. I had missed the call, as I was out picking up kids, so she had left a message for me. I listened to the message three times, did a dance around the room with the kids, regained my demeanor and called her back, very excited to be working with them.
Do you ever want to write and illustrate a picture book?
Absolutely, I would love to get some of the worlds and the stories, rolling around in my imagination and my sketchbooks, onto the page and into a book! I am working on my writing craft along with my illustration.
Would you be open to working with an author who wants to self-publish a picture book?
It would depend on the story and situation. I have worked with one author, self publishing an ebook series, “Reid’s Amazing Universe”. Getting a book, out there and seen, seems to be an issue in self publishing, especially in the digital realm, competing with apps and more. The author and developer in this case, are very good at self promotion and marketing and had some good connections so it seemed like a good challenge. I think the challenge to self publishing for an illustrator specifically, is not having an Art Director. It is difficult to self edit your work and having a talented art director on board is invaluable.
Do you take pictures or do any types of research before you start a project?
I get books from the library, google images and make big image boards for characters and setting and color palates. Right now my wall is filled with gorillas, smug kids, and downtown street scenes. I have a little mirror above my art table so I can make faces at myself, in order to get a great facial expression in my characters.
Have you done any work for educational publishers?
No, but I am interested in both this area and the Middle Grade areas, after hearing two great breakout sessions at the conference this summer in LA.
What is the one thing in your studio that you could not live without?
Music, I tend to work in different mediums and love my studio space, but I have about six different albums that play in the background when I work. It helps me to get lost in my drawings.
Do you try to spend a specific amount of time working on your craft?
I really believe keeping a good balance helps your creativity and with your life as a whole. I try hard to do this, even though I am an Artist-Mom/taxi driver of short people, I set aside around 5 to 6 hours each day during the week to sketch, paint, research and learn. If I have a deadline approaching then it is whatever it takes. That can mean, walking out to my studio at 4am in the quiet hours, or in the late evening hours, keeping the balance with my family’s daily life and get the deadline met. My kids love the studio. If I need to put in the extra time even as my kids get older, I will find myself working with someone reading a book under my art table and listening to my husband practice guitar in the house. It becomes creative time for everyone.
Do you have an agent? If yes, who? If not would you like to find one?
I don’t have an Agent, but yes, I’d love to have an agent. I think it can be a great partnership for an artist, to navigate the ins and outs of the children’s field and to help further their work.
Do you think the Internet has opened doors for you?
For artists I think the internet is fantastic! It allows us to share our work and inspiration and ideas and connect with other artists and people in our industry through Facebook, websites , Instagram and more. In my case, I Skype each week for the Visual Mentor program, and my critique group has maintained a strong bond and can help each other in an instant, even though we are from all different parts of the country. Once again internet a great tool for introverted artists!
Do you use Photoshop or Corel Painter with your illustrations?
For many years I used Photoshop, but I have become a Corel Painter fan. If I work digitally I tend to work in Corel with a Wacom tablet.
Do you own or have you used a Graphic Drawing Tablet in your illustrating?
I love my Bamboo Wacom tablet. it is as portable as a sketchbook!
Do you have any career dreams that you want to fulfill?
My Career Dream, I would like to have been a part of creating books with humor and heart, that are worn on the edges, because they are the ones grabbed off the bookshelf over an over again to be read We on the couch at bedtime.
What are you working on now?
I’m starting to sketch on the third ebook series for “Reid’s Amazing Universe” and working on expanding my art and creating illustrations for a possible book in my Visual Mentor program.
Do you have any material type tips you can share with us? Example: Paint or paper that you love – the best place to buy – a new product that you’ve tried – A how to tip, etc.
I love sketching with ball point pens but also I have a few sets of warm and cool grays, and black Faber-Castell pens and tracing paper. They come in sets of warm and cool grey and black with different sized tips and brush pens. When I am working I will have several layers of tracing paper with different shading or trying out different gestures above the original sketch. I find my work is much looser if I am sketching by hand rather than on a screen. Later I will combine what is working either in the real world or in Corel Painter to form a final sketch before going on to the finished art.
For Art supplies we live in a small coastal area so Blicks online is my go to source for supplies.
Any words of wisdom on how to become a successful writer or illustrator?
I am not nearly as far along as many of the creative and talented illustrators whom I admire, interviewed on this blog. As far as words of wisdom, I think to get where I am today with some success at being published and hopefully more opportunities in my future, for me it comes down to truly wanting to be a children’s illustrator, loving this field, and as an Artis/Mom, finding the time to truly work hard, getting your work out there to be seen.
Becoming a member of the SCBWI was an important step for me and an amazing organization with wonderful talented people. Everyone I have met has been willing to talk or help a new or emerging illustrator or writer to the find their way and welcome them into the children’s books community. It is where I have garnered friends, critique groups and contacts. Attend conferences and events through the SCBWI. Take classes, be open to opportunities!
Most importantly, find the time and the balance for your art or writing in your week and stick to it. Laundry will still be there tomorrow and I do believe Dust Bunnies qualify as pets, so give them a cute name, pat them on the head, and go sketch!
Thank you Laura-Susan for sharing your journey and process with us. Please let us know all your future successes. We’d love to hear about them and cheer you on. You can visit Susan at: www.laurasusanthomasillustrator.carbonmade.com
If you have a moment I am sure Anne would like to read your comments. I enjoy reading them, too, even if I don’t always have time to reply. Thanks!
A cat wants to become human.Add a Comment
I have long admired the work of Glas, publishers of Russian literature in English translation for almost a quarter of a century now.
Only half a dozen (of their 75) titles are under review at the complete review, but they have been an invaluable leading source of Russian-literature-in-English over this period -- so it is very sad to hear that, as Phoebe Taplin reports at Russia Beyond the Headlines, Glas publishing house is suspending its activity.
Publisher Natasha Perova notes:
"I thought the world would gasp with admiration," says Perova, but "both publishers and the public were slow to appreciate contemporary Russian literature."Sadly:
The cause of Russian literature in translation is not helped, Perova feels, by the recent rise of émigré Russian writers who "paint a more digestible picture of Russia." Foreign publishers are scared, she says, of "Russia in the raw, with its miseries and struggles" and readers are spoiled by "smooth-moving, light fiction."Perova explains that:
As a Russian publisher of works in English, Perova's project is not eligible for grants at home or abroad. "I can't apply for help anywhere," she explains. "Due to falling sales and rising costs ... it is no longer possible to publish translated literature without external support, which I have never had."Is that really what it's come to, that fiction in translation is only publishable if it is subsidized, one way or another ? How sad is that. (And much as I am pleased about fiction in translation getting much more attention (or at least appearing to ...), if commercial viability (of any sort) is still so elusive ... not a good sign.)
At Eurozine they have an English version of Rosa Liksom's Wespennest piece, Finland, Lapland, Russia and me.
She explains, for example, that:
Our native language is called Meänkieli -- the name literally means "our language". Also known as Tornedal Finnish, it is spoken on both sides of the border between Finland and Sweden. It has a conciliatory nature: even within the language itself, conflicts are avoided and concord is always sought. It arose via early Finnish settlement to serve as a lingua franca between Finns and Sámi people.Interesting that she turned East rather than West (though proximity certainly helped), as (in the early 1970s):
I was fifteen years old when I boarded the tourist coach to Murmansk, ready to encounter proper city folk and an urban lifestyle I only had a vague idea of, having grown up in a tiny village.Several of her works have been translated into English, most recently (in the UK) Compartment No 6; see the Serpent's Tail publicity page or get your copy at Amazon.co.uk. Add a Comment
Some Disney employees who work in Imagineering got an early jump on Pixar's next film "Inside Out" and dressed up as the film's main characters.Add a Comment
Jules Maroni has always worked in the circus. Jules, like her father, is a high-wire walker; her mother and her cousin Sam do dazzling work with the horses, and her grandmother used to fly on the trapeze. When her family joins the Cirque American, an old rivalry flares up between the Maronis and the Flying Garcias. Though she rarely falls off of the wire, Jules find herself falling for Remy, a Garcia boy - and she finds herself the target of threats and bad omens.
While she and Remy try to figure out who is behind these unwelcome acts, they also have to hide their relationship from their families. (A little bit of Romeo and Juliet, a little bit of Hatfields and McCoys, but with less bloodshed, thankfully. No suicide, just somersaults and pirouettes!) Meanwhile, Jules' fame rises as the circus travels across the country.
Bonus points for the main character's affection for classic films. It is lovely to see a teen character who has inherited an appreciation for the likes of Cary Grant and Barbara Stanwyck, clearly the influence of her grandmother, who is often found watching TCM (Turner Classic Movies). It's worth mentioning that all three of the Maroni adults - her mother, her father, and her grandfather - are all supportive figures who have raised Jules well and inspired different parts of her personality, her interests, and her talents.
Give this book to folks who like their mysteries with a touch of magic, and ask yourself: Would you dare to walk the high wire?
Few comics are as suitable for Halloween reading as Robert Kirkman’s Outcast, which opens with a gruesome, intense demonic possession, and continues with an exploration of a great central character, Kyle Barnes, who has to deal with his own connection to possession and the demonic world. We all know Kirkman is a horror master, but Azaceta’s art on the book is sleek and controlled, aided by top notch colors.
The first collection of Outcast comes out in December.
Add a Comment
Laying in a background color around a subject can be tricky, and it can be very frustrating, especially after taking the careful time to draw out all of your details. It can be approached loosely, or with a tight hand. I will demonstrate both.
Keep in mind, these are my methods, and by no means the ONLY way to go about it. Watercolor painting is a very personal in application. Trial and error are the best ways to learn the medium. The worst thing you can do for your painting is get furious and give up. Give yourself grace and have patience.
Okay, here we go.
Perhaps you’ve recently tried to access CrazyQuiltEdi only to get the message that the blog was no longer available. I know I was shocked when I tried to access my blog and had a hugely embarrassing messaging stating that I violated Terms of Service. I was forced to carefully read those terms (if you’re a blogger and haven’t recently you should. Many of those books tours are a violation!) It took about a day for WordPress to send me this message on Twitter.
In the meantime, I’m going to be more than a little bit overwhelmed in November. I’m presenting on diverse nonfiction in the Social Studies curriculum at Sycamore Educator’s Day this weekend; Brain Based Library Instruction at Brick and Click in Missouri next weekend and holding a diversity round table at the Indiana Library Federation annual conference in a few weeks. I’ll be be at ALAN at the end of the month and in DC for Thanksgiving.
Yes, this is my #57yearoftravel. Huh?? I was born in 1957 and to help with the math, I turn 57 this year. I’m claiming this as my #57yearoftravel. Since October, I’ve been to Sacramento, Indianapolis and Rogers, Arkansas. The Grand Canyon is my big wish (I missed it when I turned 50, opting rather for a typhoon in Taiwan) and I’d really like to throw in a trip to look at information seeking habits in India or teaching material collections in universities in South Africa or just go to Mozambique and explore children’s literature published there.
For now, for November, this blog may be a bit quiet and I’m sure you can see why. I’m still in business, just working hard elsewhere. I do intend to get up a list of November releases. Please let me know of any titles you’re aware of that I shouldn’t miss. Thanks!
I vacation in a small town on a lovely bay in the northwestern corner of Michigan’s lower peninsula. This summer my stay coincided with the run-up to the state’s primary elections. One evening, just down the street from where I was staying, the local historical society hosted a candidates’ forum. Most of the incumbents and challengers spoke pragmatically of specific matters of local concern, of personal traits that would make them good officeholders, or of family traditions of public service they hoped to continue. Some promised to be allies in disputes with the state government in Lansing. One incumbent claimed to have persuaded the state department of environmental quality to drop its longstanding objections to a wing dam that would spare a marina costly dredging. But just when I was ready to conclude that the Tea Party movement had run its course, another candidate, who identified himself as a lawyer and an expert in constitutional history, used his time to develop the claim that bureaucracy was unAmerican and that as it grew so did liberty diminish. I may have seen fewer approving nods than followed the other candidate’s tale of the wing dam, but most in the audience appeared to agree with him.
Several historians have already engaged the popular antistatism I encountered that evening. Some have argued, as Progressives did in the early twentieth century, that, after the rise of vast and powerful corporations, public bureaucracies were needed to make freedom something other than the right to be subjected to the dominion of the economically powerful. Others have taken aim at the claim that bureaucracy was incompatible with America’s founding principles. The University of Michigan’s William Novak blasted this as “the myth of ‘weak’ American state.” Yale University’s Jerry Mashaw has recovered a lost century of American administrative law before the creation of the first independent federal regulatory commission in 1887.
What such accounts miss is a long tradition of antistatism and its shaping effect on American statebuilding. Alexis de Tocqueville was an early and influential expositor. Although Americans had centralized government, Tocqueville wrote in Democracy in America that it lacked centralized administration. And that, he argued, was a very good thing: if citizens of a democratic republic like the United States ever became habituated to centralized administration, “a more insufferable despotism would prevail than any which now exists in the monarchical states of Europe.” The builders of the administrative state were not heedless of Tocqueville’s nightmare, but they were convinced that their political system was broken and had to be fixed. They believed they lived not in some Eden of individual liberty but in a fallen polity in which businessmen and political bosses bargained together while great social ills went unredressed.
The most important of the statebuilders was no wild-eyed reformer but an austere, moralistic corporation lawyer, Charles Evans Hughes, who, as Chief Justice of the United States, would later out-duel President Franklin D. Roosevelt. Neither Hughes nor anyone else thought that government would control itself. Instead, he and other judges reworked the ancient ideal of the rule of law to keep a necessary but potentially abusive government in check.
Tales of thoughtful people working out intelligent solutions to difficult problems are not, I know, everyone’s idea of a good read. I bet that candidate who imagined himself battling for liberty and against bureaucracy prefers more dramatic fare. Still, I think the story of how Americans reconciled bureaucracy and the rule of law might appeal to residents of that small Michigan town, once they remember that the same department of environmental quality that sometimes balks at wing dams also preserves the water, land, and air on which their economy and way of life depend.
Featured image credit: ‘Alexis de Tocqueville’ by Théodore Chassériau, painted in 1850. Public domain via Wikimedia Commons
The post Of wing dams, tyrannous bureaucrats, and the rule of law appeared first on OUPblog.
This week, Skyhorse Publishing is hiring a publicist, while Chronicle Books needs a digital sales manager. HarperCollins is seeking a publicity manager, and I-5 Publishing is on the hunt for a marketing coordinator. Get the scoop on these openings and more below, and find additional just-posted gigs on Mediabistro.
Find more great publishing jobs on the GalleyCat job board. Looking to hire? Tap into our network of talented GalleyCat pros and post a risk-free job listing. For real-time openings and employment news, follow @MBJobPost.
New Career Opportunities Daily: The best jobs in media.Add a Comment
No one is better than Charles Burns, and his unnamed trilogy—X’ed Out, The Hive and the new Sugar Skull—may be an even greater achievement in horror than his masterful Black Hole. The horror is on the page—talking maggots, ruined faces, a grim grey land of cannibals and humanoid insects—but the true terror is the most fearful thing of all: learning to love and understand another human being.
Tim Hodler interviews Burns at the Comics Journal in a piece called “I’m Not on This Planet Forever”: that talks about the autobiographical roots of his work—although experienced first hand, Burn’s imagination transforms them into the universal.
Add a Comment
That particular character, that was a conversation with my girlfriend’s roommates. I just never heard — we knew a lot of bands and I just remember her saying like, “Huh, we could do a band, but everybody’s doing a band.” It was like, “Everyone’s doing that. I’m going to do something different.” So it really was from that. When I went to school, I studied fine arts. I didn’t go to comics school or learn graphics or anything like that. Anything useful.
But I really did have a chance to kind of explore a lot of different mediums. I did painting, and sculpture, and I did a lot of photography. That part comes out in the book a little bit — that aspect of being a photographer. I felt like I was able to kind of allow different things into my work. But also it did come down to me just liking the accessibility of comics and wanting to tell stories. I think early on I never really kind of settled down enough to tell real stories. There were little fragments of things, or a page of something, or it might be some kind of more visual narrative. But I hadn’t really sat down and worked through the whole storytelling part of it. Which is a hard thing. Something I had to teach myself.