#Maslin

[mjm2travel]

Kiltevna - Maslin Beach - C21 SouthCoast Holidays offers accommodations in Maslin Beach, 1.7 miles from Moana Beach and 22 miles from The Beachouse. This vacation home offers air-conditioned accommodations with a patio. There's a sun terrace and guests can use free Wifi and free private parking. Offering a balcony and sea views, the spacious vacation home includes 4 bedrooms, a living room, flat-screen TV, an equipped kitchen, and 2 bathrooms with a walk-in shower and a bath. Towels and bed linen are featured in the vacation home. The property has an outdoor dining area. Guests can make the most of the warm weather with the property's barbecue facilities. Guests at the vacation home can enjoy fishing and hiking nearby, or make the most of the garden. Adelaide Parklands Terminal is 23 miles from Kiltevna - Maslin Beach - C21 SouthCoast Holidays, #mJmTravel #mJm_Travel #mJm2Travel #Tours #Travel #Tickets #Hotels

[dianapopescu]

Măslinul: Simbol și semnificație

Măslinul are o mare importantă simbolică îndeosebi în regiunea mediteraneeană. În lemnul său erau sculptate imagini ale zeilor. Dumbrava sacră din Olympia consta din măslini, iar la turnee, câștigătorilor li se înmânau ramuri de măslin. https://www.diane.ro/2023/08/maslinul-simbol-si-semnificatie.html

[thepanicoffice]

- Paternity Grieve -

[...]

It's been seven and a half years since I last wantonly scattered pixels on these hallowed pages, and yet somehow my child is still only fifteen months old.

I prefer to think of it not as gaining a son, but as losing vital parts of myself forever. There is much to mourn the loss of.

My aggressive metabolism, once my stalwart companion and saviour, has now abandoned me. I have, in one year, grown a paunch that a decade of wild dietary excess could not inflict. 

My luxuriant hair. Gone. We will not see its like again. The central quiff has been caught in the ruthless pincer movement of a senseless and unjust war of aggression. Eventually it will find itself surrounded, cut off from rescue, before being erased completely; a victim of the insatiable territorial ambitions of my own shiny forehead. 

Exhaustion has even eroded the contours of my very personality, its edges blending with those of the bottle steriliser. We both have similar, thankless roles, spend much of our day sitting sadly in the kitchen, and occasionally emit a low grumbling noise to confirm we are still alive.

Truly, parenthood has been everything I feared and I was wise to avoid it for so long.

Yet, against my best judgement, I have resolved never to pay others to raise my child for me; a resolution that now seems foolhardy. Instead of entrusting my son to the arms of a loving professional, he has been consigned to the care of a rank amateur. The boy has spent his formative months sat in the corner of my office, functioning as an effective - if occasionally pungent - paperweight. Yet he shows no taste for port and cigars, no inclination to write and, most shamefully, little or no sartorial flare. Give him a pocket square and he simply chews the corner of it. I fear he may never become the elegant but troubled genius that I need him to be.

But change - like the complex odour of nappy cream and excrement - is in the air. 

Now, whether in a quest for food or in urgent protest at my lively but one-sided conversation, he has begun to walk and therefore has finally become very much someone else’s problem. As he totters down the Office hallway like an inebriate giraffe, I find myself temporarily freed up to once again lavish the minimum of time and energy on you, my readership; my neglected first child. 

After all, I poured so many hours into cultivating you, moulding you in my gnarled image, inspiring in you a combination of lust and awe. Since you’ll bear the scars forever anyway, it would be a shame to waste it altogether, eh? 

And, as that achingly healthy breed of absentee father, the Cycling Dad - clad in his lycra and treating strangers and squirrels to bellowed insights about marketing strategies in the nation’s quietest and most idyllic parks - will attest: it is important, nay essential, to keep up your own interests in the face of new responsibilities.

That is why I have dipped my toes back into the viscous mire of political machination; the swamp into which I wade with such practiced, amphibian grace. On the 17th of May, I managed to wangle my way into giving a speech at the much-chortled-over proceedings of the National Conservatism conference earlier this month.

The whole fascinating affair - with its confused but fiery oration, low quality egg baps, and discreet brown envelopes - will be detailed in due course. You’ll also discover the only Minister who’s spent more time in a tank than Liz Truss at a Foreign Office photo op. Let that tantalise you until my next missive.

[gradinagabico]

❓Vrei o plantă de apartament cu adevărat deosebită❓ 🌱 Dacă îți dorești o schimbare în balconul, terasa sau chiar în sufrageria ta îți propun măslinul, o plantă care te va impresiona de fiecare dată când o vei privi. 💚 Indiferent de spațiul pe care îl ai la îndemână poți planta și crește măslinul în ghiveci. Chiar dacă este o plantă care crește în mod natural la temperaturi mult mai ridicate față de cele din țara noastră, în ghiveci măslinul se simte ca acasă. 🍊🍋 CITRICE ÎN GHIVECI 🍋🍊 📍Lămâi 📍Măslin 📍Grapefruit 📍Rodia punică granatum 📍Chitră 📍Kumquat 📍Clementin 📍Portocal 📍 Smochin 🖥Pentru comenzi (și alte detalii) sunați la telefon 0772 010 499 sau pe site-ul nostru: www.gabico.ro 🚛Asigurăm și transport Tămășeu – Oradea și în apropiere (Județul Bihor)! 🛒 Intră pe site pentru a face comenzile dorite 👇 https://gabico.ro/.../material.../pomi-fructiferi/citrice/ #citrice #maslin #magazin #agricol #gabico #gradina #ecommerce #depozit #depozitul #online #lamai #grapefruit #clementin #portocal #rodie #punica #granatum #chitra #lemon #smochin #comanda #acum #aici #tamaseu #oradea #oradeainsta #oradeainimagini #comenzi #stoc #limitat (at Tămășeu, Bihor) https://www.instagram.com/p/Cfozk4nNMMD/?igshid=NGJjMDIxMWI=

[twiggalina-the2nd]

[allyekatdraws]

Love/hate the House of Night series. I feel there was so much potential for this to be a killer story but it’s just. Like. That?

[buriesitsteeth]

Maslin | lvl 9

[pinkstarlightcomputer]

Alice Stepanek and Steven Maslin "Terra Incognita"

[criminol]

The Murder of Hollie Gazzard

Hollie Gazzard was a 20-year-old hairdresser from Gloucester, UK. Hollie, who had previously worked on a cruise ship, was passionate about hair and fashion, and her father described her as enthusiastic, funny and bright. She had a pet dog who she enjoyed taking for walks.

In February 2014, Hollie was at work finishing her final haircut of the day when her ex boyfriend, Asher Maslin, walked into the salon and stabbed her 14 times with a 12-inch kitchen knife he had purchased that day. The frenzied attack lasted only 2 minutes and Hollie died at the scene. 4 days previously, Hollie had ended her relationship with Maslin who she had met a year earlier, he had been furious, sending Hollie and her family abusive and threatening texts and refusing to accept the relationship was over. Hollie had reported Maslin’s behaviour to the police and minutes before her murder, Hollie’s sister had recieved a text from Maslin which read ‘I warned you all.’

In July 2014, Asher Maslin was found guilty of murder and sentenced to a 24 years in prison. He showed no remorse for his crime.

[forensicated]

Smiffina Episodes - Up In Smoke

Thankfully for Smithy, his period as Acting Inspector is finally over as Gina returns in this episode.

Before he can relax however, he and Diane are called to the park where they find a man, Duncan, flying high on drugs and holding burger van owner, Jade, at knifepoint. Jade gets stabbed in the arm and initially refuses to go to hospital. Having rugby tackled the suspect, Smithy disarms him and takes him back to the station to see the FME before interview and Diane stays to accompany Jade to St Hughes. Jade's reluctance makes more sense after Duncan is interviewed as he accuses her of selling drugs from the van.

Smithy sets up an obbo on the van and they net a large haul of cannabis that Jade had been selling in food cartons. Smithy is pleased as Jade appears to be one of the largest dealers on the Bronté estate. She refuses to name her supplier but Callum recognises him as Lee Clarke who has history in cannabis factories. Duncan claimed the cannabis was being grown locally and Clarke pops up... it has to be linked! CID are too busy to take the case on so Smithy authorises Diane and Callum to do an OBBO on Jade's flat to see if Clarke turns up which he does. They then follow him to another address and Callum takes a sneaky look when he drives off to see if it shows any signs of being an alleged cannabis factory - which it does.

Phil moans at Callum about a case uniform passed on only for Gina to appear out of nowhere and ask him if there's a problem. "No ma'am." Phil says quickly escaping. Callum introduces himself to Gina before Smithy can update her. Smithy is Not. Happy. that Callum has been schmoozing round his Gina! The smile when they first see each other - eeee! I've slowed it right down so it can be seen a little better.

The alleged factory is rented out via an agency owned by Duncan's father. Given how angry he was in Duncan's interview they suspect he doesn't know the true nature of the building. Callum offers to do some background on Clarke and Gina gets the helicopter unit to do a little flyby to see if the thermal imaging backs up their suspicions and says that CID don't need to know anything about it. Callum seems to have rather attempted to take the credit on this all for himself in front of Gina... something not missed by Smithy.

Duncan's father admits he's paid extra facilitate the short term let on the quiet - with no official paperwork. It's also clear - despite how dodgy it looks - that he didn't know about what it was used for. He asks them to stop it but without official tenancy paperwork it's hard to prove that Clarke is actually involved. Gina arrives with the thermal imagery. It's no longer an alleged cannabis factory!

There's a disturbance at the letting agency, the place has been smashed up. Phil and Stuart find out about the factory and are annoyed that Gina has kept them out of it so threaten to tell Jack. Smithy further irritates them by telling them to ask someone on uniform to fill them in on what's happened. Gina relents and gives them a tiny part in the raid on the factory - it's at the end of the road as lookout. "I'm talking to the DCI when we get back!" Phil pouts.

Diane sees Duncan at the house just before the raid and tries to get him away without Clarke seeing. Unfortunately he comes out and spots them talking and the raid has to hurry in quickly. Diane disobeys Callum's order to wait and gets herself locked in a room with Clarke who advances on her with a baseball bat. The door has been seriously reinforced and Callum and Smithy exhaust themselves trying to break in manually and finally they get inside with the enforcer. Diane is fine but Clarke escaped out the window. Thankfully after a short chase, Smithy - who gives his asp to another officer before running after Clarke - despite knowing he's hospitalised officers before!!!!! - arrests him without further drama.

Gina is happy to see all the cannabis plants being brought from the van - she's not so happy to see Phil and Stuart as they moan at her. Phil tells her he wanted to be a little more involved so she says he can be... and hands him all the paperwork for the case to complete!

As they clock off, Gina congratulates the boys on how 'they' handled things whilst she was away as she'd expected to come back to a load of paperwork - and was pleasantly surprised. Smithy smiles at her and goes on to watch as uniform drag Callum off for a drink. He refuses to join them and turns and walks back the other way after watching Callum with an almost concerned look.

(Must admit to being amused by Callum asking Beth if she is actually old enough to drink in the first place 🤣)

[ruindunburnit]

LightBringer Ch. 8 is up now, starting with Damien's POV! I'm so happy to reveal the third dimension of this character that the original authors somehow forgot to provide, even if it's not in a direction you expect. Enjoy!

[houseofzoey]

Acceptable target: Aphrodite continues to call Damien "Queen" despite (or probably because of) his dislike of the term.

[back-and-totheleft]

Stone's embrace of a despised president

In his lonely Xanadu on Pennsylvania Avenue, the Citizen Nixon of Oliver Stone's sprawling new biography is left to contemplate what history has in store. And not in his wildest dreams can he be imagining anything like this. Like a prisoner identifying with his captor in a rare form of Stockholm syndrome, Mr. Stone aligns himself with the Presidential pariah who has captured his imagination. Out of this comes one of Mr. Stone's biggest gambles, a bold feat of revisionism that veers unpredictably between turgidness and inspiration

What it finally adds up to is a huge mixed bag of waxworks and daring, a film that is furiously ambitious even when it goes flat, and startling even when it settles for eerie, movie-of-the-week mimicry. Reckless, bullying and naggingly unreliable, this mercurial "Nixon" is also finally as gutsy and overpowering as it means to be. And it achieves the effect Mr. Stone is always after: Attention must be paid.

The visual style of "Nixon" is positively sedate by Stone standards, a welcome relief from the shrillness of "Natural Born Killers" and the historical quicksand of "J. F. K." But this film's conception is more tacitly risky, since Mr. Stone envisions a punishingly long (nearly three and a quarter hours) re-examination of what much of his audience already knows. And Mr. Stone, America's most strenuously subversive film maker, has the headstrong intelligence to make it work.

In his capacity as rogue educator, he offers an exhaustive barrage of snippets and re-enactments, with glimpses of everyone from Mao Zedong to Alger Hiss to Helen Gahagan Douglas to well-known Nixon pets. Nixon's famous speech about Checkers is lovingly recreated by Anthony Hopkins, who captures his character's embattled outlook and stiff, hunched body language with amazing skill. As for another family dog, even the unfriendliness of King Timahoe toward his master telegraphs the film's view of Nixon as a lonely man.

Or as Henry A. Kissinger (uncannily impersonated by Paul Sorvino) puts it, "Can you imagine what this man might have been had he ever been loved?" The screenplay often indulges its taste for such soapy oversimplifications, especially when it feels free to imagine how Richard and Pat Nixon talked to each other behind closed doors. (Mrs. Nixon, played gracefully and touchingly by Joan Allen: "I just wish you knew how much I love you.") That dramatic license, reducing the characters to puppets, is as damaging as the film's free-floating insinuation that Nixon's involvement in a plot to kill Fidel Castro during the Eisenhower years led indirectly to President John F. Kennedy's assassination. Mr. Stone has so much else at work here that he doesn't need this whiff of intrigue. Besides, in the conspiracy department, Watergate is a hard act to follow.

"That's not true either!" a stranger behind me kept remarking at one "Nixon" screening. It doesn't matter whether he was right to complain. What does matter is that the film is so loaded with composites and minor fictions that it inevitably excites a certain alarm, though it hardly rivals "J. F. K." in that regard. And Mr. Stone intensifies the accuracy issue with a newly published companion volume (edited by Eric Hamburg) of Watergate tape transcripts, random commentary (the essay by Alexander Butterfield, a crucial Watergate witness, notes that he was asked to write about "anything at all" regarding Nixon). The book includes a screenplay so ostentatiously annotated that it says more about the film maker than about his subject matter. Look closely and learn that while the film's Nixon refers to G. Gordon Liddy as "that fruitcake," the word Nixon actually used on June 23, 1972, was "nuts."

But this portrait doesn't stand or fall on its research credentials. Which is why it's fortunate that something changes midway through "Nixon": Mr. Stone's compassion for his subject overwhelms his film's false moves. And the barrage of undramatized, undigested data gives way to a much tighter and more artful vision. Having ricocheted through Nixon's boyhood, college years, defeats in 1960 and 1962, his visit to China and bombing of Cambodia and his immersion in the Vietnam War, the film starts snowballing its way to real dramatic power.

It achieves its full impact in its last hour as the noose of Watergate tightens, creating a claustrophobic intensity and making Mr. Stone's embellishments look insightful instead of arbitrary. By the time he stages a wrenching finale in a White House that looks haunted, where every element of the beleaguered President's world seems to conspire against him, Mr. Stone has brought this enormous film into sharp focus. And "Nixon" finally achieves its hard-won tragic dimension, even if the S-word (for Bard of Avon) has no real relevance here. "Nixon" has ghosts and hubris, a lost kingdom and a fall from grace, but its probing never penetrates the surface of this elusive man.

Instead, as it rounds up the usual suspects to reinvent the drama of Watergate, the film enlarges Mr. Hopkins's haunted, overwhelmingly vivid Nixon by framing him with secondary characters who seem like stray parts of his own tortured psyche. Never have Mr. Kissinger, H. R. Haldeman (James Woods), John Ehrlichman (J. T. Walsh), John N. Mitchell (E. G. Marshall), Alexander M. Haig Jr. (Powers Boothe), John Dean (David Hyde Pierce) or even J. Edgar Hoover (Bob Hoskins), however well and differently acted, seemed like such clear extensions of the same personality. And each of them has occasion to think piquantly about how Nixon's fortunes affect his own fate, not to mention the fate of the nation.

"This is about Richard Nixon," Mr. Ehrlichman says about dirty tricks, Watergate and his boss, whom the film sees as plagued by lifelong, childhood-rooted insecurities. "You got people dying because he didn't make the varsity football team. You got the Constitution hanging by a thread because the old man went to Whittier and not to Yale." Mr. Hopkins's Nixon has such bravado that he gets away with talking to likenesses of Presidents Kennedy and Lincoln and echoing these same thoughts.

The supporting cast of "Nixon," in which Ms. Allen, Mr. Woods and Mr. Sorvino are shown off to best advantage, is immense and often wittily chosen, even if many of the roles are barely walk-ons. (Or worse: the script features an important role for Sam Waterston as Richard Helms, but he's not here.) From Brian Bedford as Clyde Tolson, Mr. Hoover's companion (seen slyly reading "Couples"), to Edward Herrmann as Nelson A. Rockefeller and Madeline Kahn as Martha Mitchell, the film's cameos are steadily entertaining.

Blink and you'll miss Spiro T. Agnew. Elsewhere, Larry Hagman is cast to his television type as a diabolical rich Texan, one of the film's composite characters. Ed Harris makes a steely E. Howard Hunt. And Mary Steenburgen plays Hannah Nixon as a demure Quaker mother with an inspiring and debilitating influence over her son. This film's Nixon could be Norman Bates by the time he recoils at his own obscenities on the Watergate tapes, exclaiming: "Do you think I want all the world to see my mother like this? Raising a dirty mouth?"

"Nixon" has long since transcended the realm of ordinary biography by then.

-Janet Maslin, "Stone's Embrace of a Despised President," The New York Times, Dec 20, 1995

[acaseforpencils]

A Case for Scanners.

Non-artists often assume that once a drawing is completed, the art process stops. As most professionals will tell you, that's not the case! Capturing an image for reproduction, and making sure that it represents the original work well, is oftentimes an art form of its own. Since this topic isn't something that has been given a lot of air time on here, I thought it would be fun to ask some folks who do a lot of non-digital work, with (seemingly little) processing, if they had any hard-earned advice on how to get a final image!

I hope everyone is having a nice summer, and that you all are making lots of art! —Jane

Roz Chast

Find this print here!

How do you get images of your work? For reproduction, I use a basic Epson scanner I got on Amazon a few years ago (my old Canon one died). Cost maybe $175. My only complaint is that it only goes up to 8.5 (maybe 8.7) by about 11.5 inches. If the image is bigger, I scan it in parts and put it together. The Epson scanner is excellent. You can scan up to 1200 dpi which was useful when I did drawings that were 9 by 12 inches and they were blown up 9 by 12 feet, and they looked FAB. I was amazed. I also once scanned an embroidery that the NYer used on a cover and it worked fine.

But for just sending someone a quick pic of something, or posting to Insta, I use my camera. Oh, and for pysanky eggs, I use my camera. LOL, wouldn't be good to smash them flat in the scanner.

What are your best tips for getting a good image? If the item you want to scan is a little rumpled or wrinkled, press down hard on your scanner lid before scanning. Also, I use Photoshop to optimize the image--mainly brightness and contrast and to remove patch shadows etc. And for embroideries and pysanky eggs, I use my camera and photograph them in natural light outside. Not in bright sunshine or dark shade-- in between.

Does your method differ when capturing a colorful image vs something black and white? Not really. But I do adjust for brightness and contrast with Photoshop, no matter if it's in the scanner or the camera, b & w or color.

Joe Dator

You can find this print and more here.

How do you get images of your work? I scan my images. Ever since The New Yorker stopped accepting original artwork, the cartoonists have had to scan their own work and send it as a digital file. It's been a source of some frustration for me, as I used to rely on the top-of-the-line scanners at Condé Nast's imaging department, but now the quality of my published work is dependent on whatever modestly priced scanner that I can afford to have at home. For a while I was using a Brother and then an Epson all-in-one printer/scanner, though neither were very good at capturing the nuance of wash shading. I've now got a Canon 300, which is a dedicated scanner, and is somewhat better, though not by much. It's adequate for its very low price, I suppose. All of this has led me in some cases to scan my work as line art and then add the grey or color areas digitally, or sometimes to bypass scanning entirely and just create digital art.

What are your best tips for getting a good image? It's always better to go a little bit darker and then lighten the image after the fact, because that way you've captured the information that is there. You can subtract information if there's too much of it, but you can't add in formation that wasn't captured in the first place. I always take a very high resolution scan, 600 dpi, and then adjust the image in Photoshop, mostly with the Levels feature. I'll also go in very close to the image and go over it with the eraser tool, removing any dirt or blotches that I see. This is made much easier if I remembered to Windex the glass before scanning! Best tip: clean the glass first! I have wasted hours of time cleaning up images because I forgot to wipe the glass clean before scanning!

Does your method differ when capturing a colorful image vs something black and white? No difference in how I capture the image from the scanner, but the way I will clean the image up in Photoshop differs slightly, because for a color image I will use the Levels as well as the Hue/Saturation and Color Balance features.

Amy Hwang

Find this image here!

How do you get images of your work? Flatbed scanner

What are your best tips for getting a good image? I used the photo setting to scan my work. For watercolor paper that isn't completely flat, I'll weigh it down with a stack of copy paper and place a heavy hardcover book on top of that. I'll also weigh the sheet down with my hands as the scanner bulb moves under it. 

Does your method differ when capturing a colorful image vs something black and white? No. 

Ivan Ehlers

Find this print here!

How do you get images of your work? If it’s a work of ink on paper, I’ll usually do the ink drawing first and then scan that just to be safe in case I screw it all up with the wash/color. If I screw it up, then I will do a digital wash/color pass in Photoshop. If all goes well, then I’ll scan the drawing again and adjust digitally as needed.

What are your best tips for getting a good image? Take the time to figure out your scanner and to learn which values will get lost in the scan and how to deal with that, either preemptively on the drawing itself or digitally after it’s scanned.

While scanning, if it’s a black-and-white image, scan in black-and-white. You’ll get more of what you want without the scanner trying to make sense of random color information that may exist on the paper. And the higher the resolution, the better the image (and information within the image) will be.

Once you get that image imported, throw it into Photoshop and hit Command-L to mess with the levels. This is where you’ll find the sweet spot of making the lines/wash darker, the mid-tones lighter (if you want to erase the background) or darker (if you want to show the wash/paper more) and your contrast (again, if you want to make the background paper ‘disappear’).

Also, depending on how the work is showcased (digitally, printed small on newsprint, professionally printed on expensive materials), you will learn what matters and what really does not. If people are just going to see the image on their cell phones, it doesn’t matter if the image doesn’t look absolutely perfect when zoomed in 6000%. If it’s for print on newsprint, there’s a limit to how much detail will show and how much color information will transfer. It's easy to get lost in a spiral of saying "It doesn't look exactly like the original!" Look at photos of original paintings, then go see them in real life. It never looks the same!

Does your method differ when capturing a colorful image vs something black and white? Black-and-white images are much easier to capture/edit in that the amount of information is dramatically lower than that of a color image. When working with black-and-white images, your concerns are mainly with levels (see above).

When working with color images, you still have to deal with the levels but add to the equation a step of color correction (or color mixing for those who consider the term ‘correction’ inherently pejorative and indicative of an error).

Getting color right is the hardest part. It’s like trying to find the simultaneous determination of position and momentum of an electron—You can either get a good line quality and contrast, or you can get good and true color, but you can’t get both. (This is of course me being dramatic. You can get both, but you better have a much better scanner than most of us can afford.) 

If you need to ask how much a really good scanner is, you can't afford it.

Carolita Johnson

Find this print here!

Scanners are great for flat work without ripples. I flatten my stuff under two very thick, heavy pieces of plexiglass and with a piece of paper on either side of the original against the plexiglass after a very light fine misting with water if it’s too rippled. 

Otherwise I remember Andy Pilsbury at TNY used to take photographs of fine color art — especially if it had a lot of texture— in his special studio.

Jenny Kroik

Buy this print here!

I use an Epson scanner. Mine isn't great, so I have to do a lot of Photoshop tweaking for color precision. I've been meaning to get a better scanner for ages! Get a nicer one, and you might not need to do as much color-correcting. (I got the cheapest one for like $70).  Scan stuff at at least 600 DPI.

Also, my laptop has a retina display. I think they all do that now, I'm not sure.

Navied Mahdavian

Find this print here!

How do you get images of your work? I use an Epson V600 Photo scanner. I've used a few scanners and it's my favorite. 

What are your best tips for getting a good image? I usually scan at 600 dpi for finished images. I use Photoshop to clean up an image and adjust black and white (make whites true white etc.). 

Does your method differ when capturing a colorful image vs something black and white? I usually do black and white, so I'll use the greyscale scanning setting. If I do use color I just switch it to color. Otherwise, all the same. 

Michael Maslin

Find this print here!

How do you get images of your work? An Epson V550Scanner....probably 5 years old, still works well. 

What are your best tips for getting a good image? Don't have tips. I just make sure the image on the screen looks as close as possible to the original piece. As I'm dealing with a simple ink line with some pencil added on, it's not a complicated replication. Rarely have to do anything with/to what comes up on the screen.

Does your method differ when capturing a colorful image vs something black and white? For me, it's fairly simple as the drawing is an ink line with a small amount of pencil added. I've noticed that color pieces invite messing around with "saturation" and those other tools. I almost always end up liking the "adjusted" image better than the original. 

--

If you enjoy this blog, and would like to contribute to labor and maintenance costs, there is a Patreon, and if you’d like to buy me a cup of coffee, there is a Ko-Fi  account as well! I do this blog for free because accessible arts   education is important to me, and your support helps a lot! You can also  find more posts about art supplies on Case’s Instagram and Twitter! Thank you!

[twiggalina-the2nd]