a long time coming

I worked a seasonal job, and the big thing I saved up to get was CS6 and Lightroom. Now that I have it, I’m slowly figuring out the whole digital painting thing. I’ve always been bad at it. Like, really bad. I had Corel Painter for a few years before I even learned how to make custom brushes, and it was because my sister walked me through the brush creator.

So here I am, determined not to be terrible in Photoshop, trying to learn the painting side of it. I learned how to use it in college, but I didn’t do much with it, especially since I’ve never been much for digital painting. I hit my stride with the Oekaki BBS system, and was good at that. I understood how it worked because it had like 4 functions. Simple.

This is the kind of stuff I was doing. As a high schooler.

Edmund Pevensie

Cillian Murphy fixed

Remus J Lupin fixed


While not the best, it’s pretty good. I’m still impressed by most of it. And then, just compare these to the following, which were done in Corel Painter during college and even after college.

Bella Swan 1 jpg

Ivaera and Ioan JPG

Garrett Hedlund final

Just terrible, right? Just terrible. Cringe worthy, really.

Well, I’ve been trying to get used to PS and what better way than to practice coloring on some sketches of mine? If you read my last post, you will have seen them at the end. Not bad. Each one I did I felt like I improved from the last. That’s a good sign.

And then I thought, well, why not try to do what you’ve never been able to do, and that is a successful piece of digital art that reflected what you were capable of as an artist?

And this was the first evening of work:

Clary preview1

Just atrocious. I thought for sure at this point that digital art was beyond me and that I’d forever be a traditional media girl. There’s nothing wrong with that, except oh wait we live in the digital age and people expect artists to be able to do EVERY medium, not just…. oil paints, graphic pencils, color pencils, watercolors, and ink. Well, and acrylic, but I don’t like acrylic for the same reason that most people do: the drying time. The next day I woke up and said, I wonder if  I can fix this.

Clary preview2

Yes, yes I can. I mean, it’s not completely fixed yet and her hand is a trainwreck, but it’s better, for sure. And actually looks like the actress and not like the horrific attempt from the night before that just looked…. sad. Like a blurry little sad mess. But this–this I could work with. So I kept going….

Clary preview6

Clary preview10

Uh, what? I might be good at this? STAHP. Let me tell you the parts I am most proud of:

  • the bracelet and the cast shadow from it
  • that mug. Look at that mug.
  • how I managed to cut out 2 people from the background of this.
  • that shadow from the hair on her face.
  • did I mention the mug? The bracelet?

Stay tuned for the final version later…….

I’m going to talk about what I’ve been learning in PS now, from just this piece.

  1. The smudge tool is NOT your friend. Just don’t even go there. The blur tool? That’s okay if you just need to make a line not sharp, like the background stuff.
  2. CS6 is supposed to have increased pressure sensitivity, so even my bamboo tablet suddenly becomes amazing. Corel Painter has sensitivity, but it’s an entirely different program.
  3. Keeping one finger over the ALT key is awesome. Why? Because when you’re using the brush tool, holding ALT gives you the eyedropper, so you can get a color in between the colors for shading purposes. Works wonders.
  4. The dodge and burn tools are really good in PS. Not in Corel Painter, because it’s meant to be a painting program, not a photo editing program.
  5. PS/CS6 comes with some really nice brushes already loaded in. And for the casual/hobbiest/sometimes freelancer artist like myself, I don’t really need much else. But finding the ones you like and resonate with is important, and will vary from piece to piece and on stylistic choices. And then you can just go in and edit them easy peasy anyway.
  6. Understanding coloring, lighting, shading, and so forth is important, and if you know it in traditional art, it will eventually transfer over. It may just take a little push. Or reading an artbook that talks about them in relation to digital media. Thanks to my sister, whose artbook is in the editing stage right now.
  7. Sometimes you need to deviate from the original image you’re using as a reference, if you are, that is. Colors may need to change, shading may need to be deepened, and artistic choices will need to be made throughout. As the artist, you control where the eye goes, more than you think.
  8. Keep track of your layers. I painted something on the wrong layer at least a dozen times, and one was so much that I ended up merging the layers because of it.

And lastly, have the trailer.


art: a process

After my sister gifted the most amazing watercolors I’ve touched in my life, I’ve been mildly obsessed with them. Forget those pencil drawings I love; I’ve got watercoloring to do. Hence why Ron Weasley and JGL are still sticky-tacked to my desk half finished, whereas I’ve been cranking out the watercolors. Also because Ron is wearing plaid and JGL is in stripes and why do I always pick reference photos with complicated clothing patterns? In any case…. here’s how I do these watercolors.

First, here are the materials I’ll be using on this:

blending marker, white color pencil, graphic pencils, eraser, sharpener, watercolor pad, watercolors, brushes, sketch paper, water, paper towels, and reference image (on the computer)

clear blending marker (optional), white color pencil (for last little touches, but also optional), graphic pencils, eraser, sharpener, watercolor pad, watercolors (Dr. Ph. Martin’s), sable brushes (#2, #8, and 3/4 wash), sketch paper, water, paper towels, and reference image (on the computer)

1. I start with a reference photo I like, and then make a sketch of it on a piece of paper sized appropriately for the watercolor paper I’ll be using. Then I’ll take a soft graphite pencil (like a 4B or 6B) and color all over the back of the piece of paper with the sketch.

basic sketch with just hints of shadows marked on.

Simple sketch with just hints of shadows marked on, and the back of another sketch that I’ve scribbled on.

2. I position the image where I want it on the watercolor block, and with another pencil (a normal HB works fine, but make sure it’s not super sharp) trace, with some pressure, the specific lines I need. Clean up the watercolor paper. The lines I need should be dark enough for me to work with, but light enough that they won’t be distracting.

basically I've made my own transfer paper so I have the sketch--lightly--on the watercolor pad.

Basically I’ve made my own transfer paper so that I can have the sketch–lightly–on the watercolor pad. Eraser is on hand.

3. At this point I decide what color I want to use, as this is part of a series of single-color paintings. I have a tiny bit of Indian Yellow and Scarlet sitting around that I’ve been waiting to use, and yellow is the perfect color for Molly. However, before I touch the watercolor paper, I need to do a color test to see how the color reacts to amounts of water and if this really is the color/color mixture I want.

I just use the initial sketch paper for a color test. Here I decided on a whim to add some red to the mix and liked what happened.

I just use the initial sketch paper for a color test. Here I decided on a whim to add some red to the mix and liked what happened.

4. I’ll start with my wash brush and wet the paper I want more in shadow, and then add a light wash of the yellow to start, trying to guide the color a little. The initial wash is really important because it sets up a lot of the faint shadows and such.

the first color wash will set up whether this is going to turn out good or bad. This wash says good because I got the color where and how I wanted it.

the first color wash will set up whether this is going to turn out good or bad. This wash says good because I got the color where and how I wanted it.

5. Duel-wielding brush time. I’ll have a fine-point in one hand and a wash brush in the other. The fine point has color, the wash has water, and this is how I slowly darken areas until it’s what I want. This is where I start doing the larger details, more shading, and such. The fine details, such as the mouth and eyes, I’ll leave until last.

Screwed up a little here by having too much red on my brush. A tiny bit of that red is potent, and so I decided I just had to go with it.

Screwed up a little here by having too much red on my brush. A tiny bit of that red is extraordinarily potent, and so I decided I just had to go with it. Part of art is learning how to roll with the punches.

6. Once I’ve gotten most things finished, it’s time to do the eyes and mouth. Louise Brealey, who plays Molly Hooper, has a slightly odd mouth shape here, and her teeth are showing, which is annoying at the least. Teeth are hard to do.

chose to make her teeth indistinct. I added in one other color to my fiery mix to have a darker tone for the deepest shadows.

chose to make her teeth indistinct. I added in one other color to my fiery mix to have a darker tone for the deepest shadows. Also, I really hate that the color balance in my room is so awful a computer can’t fix it.

7. Clean-up time. Sometimes it needs it, other times it doesn’t. Really depends on the painting. In this case her eyes need just a bit of love. I have a white color pencil I’ll bring in to do highlights or any cleaning I need, and then a signature and it’s done. Oh wait, except for the part where I blast it with fixative. Stuff smells terrible, but it helps seal the color in and prevent possibly future damage from water.

You were wrong; you do count. You've always counted and I've always trusted you. But you were right; I'm not okay.The final scan took out a lot of the yellow from the image, which I can't figure out how to get back without the reds becoming overpowering.

“You were wrong; you do count. You’ve always counted and I’ve always trusted you. But you were right; I’m not okay.”
The final scan took out a lot of the yellow from the image, which I can’t figure out how to get back without the reds becoming overpowering.

Sounds pretty easy, right?

Molly is such an amazing character, because even when John can’t see Sherlock, she does. She never stops seeing him.

So in light of that I’ll talk about my color choices for her. I wanted to do Molly in tones of yellows and golden browns, but a yellow-orange color ended up being the one that felt right to me. Here’s some production design babble on the significance of this: Orange is what’s generally known as the people’s color. The color of the ordinary person, but it is also, in color theory terms, a color of energy and life. Unlike orange’s counterparts–the powerful and aggressive yet passionate red and the energetic and obsessive yellow, orange bears none of the negative stigma. It is bright, hopeful, yearning without the pain. Lively. But also the color of a deceptively ordinary person. Molly is this. She is the ordinary person exemplified, but she is a thousand times more, special and anything but ordinary, and that’s why orange is right for her.

Orange is the color of the people’s hero, and that is who Molly Hooper is.

Film Review: Cloud Atlas

That was a metaphorical and philosophical bullet to the brain, as is the style of the Wachowskis. It does, however, boil down very simply. It’s the journey of souls, one in particular as marked by a comet-shaped birthmark.

Going about describing this film is like trying to describe a mix of the reincarnation and love from The Fountain, the intertwining story element of Babel, the psychological aspect of Black Swan, an emotional and theological chunk from Atonement, and a little bit of The Matrix philosophical and theological elements to top things off. When I say bullet to the brain I mean that the film keeps going and you’re sitting there wondering what you’re looking at in six different timelines that cross paths here and there in the most unique ways.

I’ll try to separate the plots out for you, since in the movie they are all interwoven in a beautiful and cinematic way that makes the whole film so much more complex, but at the same time so much more beautiful and simplistic.

Storyline 1: A lawyer, Adam, has sailed across the Pacific to obtain a contract for his father-in-law for slavery rights of some kind in 1846 (I think). There he gets infected with a worm, and a doctor goes with him on his return journey to San Francisco to help him. As does a slave who says he can earn his own passage. And he does. The doctor (Tom Hanks), however, is trying to rob Adam, and is also poisoning him slowly so that he can get the contract and the gold in the case the contract is in. The now former slave saves him, in repayment for Adam getting the captain of the ship to allow him to earn his passage on the voyage (in turn basically granting him his freedom). Once back in SF, Adam burns the contract in front of his father-in-law, and he and his wife (the daughter) announce that they are moving east to be part of the abolitionist movement. When told that they will be nothing but drops in the ocean, Adam says what is an ocean but a multitude of drops? Adam narrates part of this, and this story connects to the next in the fact that he wrote his story down, and the book is one that is read by the main character in the chronologically next story.

Storyline 2: England, 1930’s. We meet a gay couple, one of whom studied to be a composer and manages to worm his way into the household of an ailing composer of note in the day to help him transcribe the rest of his music. Whilst there, under constant barrage from his employer, the young man, Robert, is finally able to write his own music, which the old composer claims is rightfully his, and threatens to ruin Robert’s, reputation. (Outing him would have ruined him in that era.) So Robert goes to leave and the old man continues to threaten him, wherein an accident happens when the two struggle with a gun, and it goes off and shoots the old man, but doesn’t kill him. The old man is out for blood after this, while Robert finishes his symphony, The Cloud Atlas Sextet, before killing himself minutes before his one true love rushes in the door. The letters Robert wrote to Sixsmith (his lover) through this narrate the story, and are part of the continuation within the next story.

Storyline 3: San Francisco 1970’s. A journalist (Halle Berry) meets Sixsmith as an old man by chance in an elevator. The power goes out and they have a long time to talk. Sixsmith eventually decides he wants to trust Louisa with his secret, but before he can tell her, he’s killed. She finds his body, and the letters Robert wrote to him, and then decides to start investigating the whole thing. Louisa goes to the nuclear power plant that is soon to be up and running, and meets Tom Hanks’ character there, and the two instantly connect, and he says some poetic things about suddenly believing in past lives and fate and such. His plane is blown up, and a contract killer runs her off a bridge. She survives, and eventually gets the story out, via a copy of the report of the faulty nuclear plant Sixsmith sent to his niece. Louisa gives her the letters and Megan says that Sixsmith believed in love, even though he was a scientist. Also, Louisa goes to a record shop to buy Robert’s Cloud Atlas Sextet in here, and says she knows it, even though there are only a handful of copies of it in existence.

Storyline 4: Present day. I Somehow missed how this one connected to the last storyline. Whoops. A publisher, Timothy, is at a party with the author of a book he wrote, Dermot. The book got a terrible review and Dermot, at the party, throws the reviewer off the balcony, killing him. (At this point, Tom Hanks has played a killer twice). The book suddenly becomes a success, and then thugs come and demand money from Timothy, who goes to his brother for help. The brother sends him to a mental institution for the elderly to get rid of him, and there, Timothy and three others plan an elaborate escape. The escape empowers Timothy to reunite with the woman he had loved in his youth. At the end, he decides to write down his story, and it becomes a film that shows up in the next story

Storyline 5: New Seoul, 2144. In storyline 2, the old composer says he had a dream about a strange cafe where all the waitresses had the same face. Turns out, that’s the beginning of this story. One of the girls shows another the lost and found, and Sonmi 451 becomes entranced with a little movie player. Yoona (the other one) acts out against a customer who sexually assaults her and then tries to escape. She is killed instantly. Hae-Joo comes and breaks Sonmi out, and shows her the resistance, as well as the truth: the genetically grown workforce that serves people are killed after a certain amount of time, and their bodies broken down and fed to the current workforce. The whole thing reveals a fairly emotionally despicable situation. So Sonmi agrees to do a broadcast across the world and colonies on other worlds. While this is happening, the resistance is destroyed, and Hae-Joo is killed. Sonmi, once captured and asked to tell her side of the story for the archives (which narrates this whole bit), is asked if she was in love with him, and she says she still is. When this causes some confusion, she says that death is like a door. When the door on this life closes, another opens. The soul continues. Her broadcast eventually ends her up as a sort of deity in human culture.

Storyline 6: Way into the future, on a colony. Zachry’s brother-in-law, Adam (a connection to the first storyline) and nephew are killed by cannibal warriors while Zachry hides nearby. Halle’s character comes to the island their village is on to climb ontop of the mountain the locals believe is the devil’s lair. The devil in this case is called old Georgie and is Hugo Weaving (who has played a villain in every storyline he shows up in except one, and he’s barely in that one). Zachry agrees to help Meronym (Halle), and finds out that Sonmi was a human who lived a very short life, and he sees part of the broadcast she made all that time ago. The tribe is all wiped out by the cannibals, and Zachry kills one, which causes a battle in while he and Meronym kill the whole cannibal tribe (to save each other and to save Zachry’s niece, the lone survivor of the raid). They go somewhere else, and the last scene is of Zachry telling this story to his grandchildren, pointing out Earth to one of them, then going inside with Meronym.

One interesting tie from the last story to the first is that in the first, Tom Hanks plays a doctor trying to kill someone, and he takes a jeweled/glass button from Adam’s coat. In the last story, Zachry (Tom Hanks) wears a necklace with that same jeweled/glass button, and when he turns from being selfish to being a hero, that necklace is ripped off. Also, the doctor talked about cannibals in one scene, when he first meets Adam, and then cannibals appear in the last story.

Now, if this was hard to follow, I’ve actually given you the easy format. The stories all intertwine in a very unique way, and sorting out what’s happening in each story takes some time. In the intertwined format it’s much more eloquent than I’ve made this seem.

The image carried over through the whole thing is a comet-shaped birthmark. First on Adam, then Robert, then Louisa, then Timothy, then Sonmi, and lastly Zachry. It’s the story of souls through time, and the lives around that soul. The story always centers on the one who bears the birthmark. From killer to hero, as the description says. But it’s more than that. It’s the story of love found and lost throughout time, of life lost and life saved. The comet represents the journey of the soul, and in some way how that soul crosses paths with someone who had seen this mark before, been involved with the life of that person.

In the sense that it carries over, like reincarnation, it is very reminiscent of The Fountain. I happen to love that movie, but Cloud Atlas far surpasses it. Instead of just two people passing through time, always to be together, it’s multiple people, but the same pairs are always there. It uses the same actors to play many roles, allowing us to follow the journey of the soul and how it relates to the past and future, rather than confusing us by casting a bunch of different people. I’ve heard some flack about how they should have cast different ethnicities rather than doing makeup on them. The point is for the audience to understand who these characters are, and why it’s so important that they would be drawn to each other.

The way that all these stories are interwoven makes the reveals happen at just the right time, showing us one character and then introducing them to another in a different timeline, which eventually causes us to be introduced to them in the first timeline and so on. Hard to explain well, but cinematically it’s so beautiful and works perfectly.

It made me cry. I was sitting between total strangers in a packed theater and I was so moved that I cried. But the sadness was coupled with happiness from other storylines, giving the whole film this incredible bittersweet feeling. Storyline 5 was the saddest, I thought. It represented an incredible amount of hope that ends in death because it cannot end any other way. I think also that Doona Bae and Jim Sturgess in combination offer this incredibly potent mix of heart, soul, and sincerity.

Each storyline shows us that there are two paths we could follow (if you look closely). Good or evil. Doing the right thing or being self-serving and doing the wrong thing. Life is about the choices we make, and the lives we cross paths with, and how the choices we make impact those lives.

In a metaphorical and philosophical way, I think I understood this film. Someone actually turned to me during the credits and asked if I understood it, and then afterwards in the bathroom I heard a bunch of girls complaining that they didn’t get it and the plot was really simple and they didn’t seem to like it. I was absolutely 100% judging them in that moment. Because the plot wasn’t actually that simple. Any of the stories could have been it’s own film, but then the overarching storyline of the soul, the comet birthmark, going on, was both simple in idea and incredibly complex in execution. The film is more of a character-driven story rather than a plot-driven story (Inception would be plot-driven).

As for other things about the film, the music was incredible. The Cloud Atlas Sextet we hear played throughout is hauntingly beautiful. The makeup in the film was phenomenal, especially since the actors were changing ethnicities for most of the different storylines. That’s hard to do, let alone do well. The cinematography was beautiful. It was never showy (unlike The Matrix), and I liked that. The acting was amazing. Top-notch actors were brought on for this, and they carried each and every story with care and fineness. Hugo Weaving is  terrifying villain, but for very different reasons, so is Tom Hanks. Jim Sturgess always has this incredible amount of heart in his acting, and watching him in this film made me realize why I love him so much; I can’t not love that much heart and sincerity. Doona Bae is incredibly moving. How she acts seems so simple, but I have no doubt it is anything but, as the complexity of each feeling came through. Halle Berry brings her cool, confident, capable self to screen. Ben Wishaw (Robert) blew my mind. He had a powerful storyline, and he played it so well. Everyone in the cast was wonderful, and it was clear why they are renowned actors. The special effects were nice, and I love how they did New Seoul and the futuristic timelines. Everything seemed a logical advance from where we are.

The one thing that brought me out of the film a bit was in the last timeline, they have this sort of future-speak that is basically butchered english, and sometimes I had to spend a little time deciphering what was said.

It’s magnificent.

Simplicity 2057 Jacket Review

Finito!!! I’m pretty excited to have sewn this jacket. It was a fairly massive undertaking, especially because I’m not all that wonderful of a seamstress. And it took me a long time because I’ve had to rip out and redo about half the seams on it. Okay maybe just a third, but that’s still a buttload of seams. The pictures don’t show the color as well as I’d like, but it truly is Tardis blue. But here it is.

1. The outside of the jacket runs a little big, but the lining runs fairly true to size. So I’d suggest cutting a size smaller in the jacket, but your actual size in the lining. You may have to fudge some seam allowances for this, but having your lining be a bit bigger than your coat is a good problem, and the opposite of what I had.

2. Wool is the easiest fabric to sew with. No really, not even cotton-poly blends are this easy. Lining? Not so much. In any case, I highly recommend finding a good wool to make the jacket in. I used 100% wool and can’t wait to work with wool again.

3. The directions for this pattern are clear up until the lining comes into play. Then it takes someone who can translate sewing-speak to even figure out what that means.

4. The fabric for sleeves both in the wool (or whatever you choose for the outside of the coat) and the lining are calculated separately. Weird. My mom and I redid the layout of the pattern in order to accommodate this. We got 2 yards of 60″ (57″) wool, and….

This isn’t including sleeve tabs or the back yolk because I didn’t wand to do those, and it uses the stand collar because that’s the kind I wanted, as well as using the welt pockets rather than the flap pockets also because that’s what I wanted. This layout worked out great. The open spaces around some pieces are where you’ll cut a second of something, like the stand collar, the epaulet, the pocket welt, or the welt tab.

5. There will be a lot of hand-sewing with attaching the lining to the jacket itself. I mostly ignored what the directions said here, because it was confusing and my mom said I could just hand-stitch it and not have to worry about that. Time consuming, annoying, but at least it was simple and would turn out right.

6. On the smaller pieces of the pattern, like the epaulets and the welt tabs, I’d suggest doing a 3/8″ topstitch rather than 1/2″, because of size ratio stuff. You can see here a little of that.

7. The collar can be a bit tricky. Sew carefully. Everything has to line up.

8. The coat uses a lot of thread. By a lot I mean buy 2 spools.

9. For as complicated as this will seem at first, with nearly 30 pieces involved, it’s not too bad. There are a lot of places you can mess up, but as long as you sew carefully, it goes together a lot easier than expected. It will, however, take some time because of how many pieces and all the finishing involved.

10. The jacket is beautiful–a really great design. If you make it out of a nice wool, and make it well, the store-bought equivalent would cost around $200-250 (although as low s $150 or as high as about $300).

11. Even if you don’t normally use shoulder pads in things because you have great, strong shoulders naturally (thank you swimming) this pattern really does require them. The jacket won’t lay right without them. The sleeve pads you can do without.

12. If you’re using the epaulets, and want to sew them down with a button, sew that on before you do the shoulder pads. The directions won’t say anything about finishing the epaulets, and I didn’t realize this until I’d already put the lining in.

13. I chose to do a little customization to this. No deviation from the pattern, because it was complicated enough to begin with. But, I did a little TARDIS applique on a sleeve. Since this is, you know, my TARDIS jacket.

14. Having a sewing buddy always makes things better. Although, cat fur sticks to wool like hair to lipgloss.

misfit monday: when a find meets a design

I was in JoAnn’s the other day buying additional fabric for the back of my quilt, I browsed the fabric section and found this amazing blue wool and this gorgeous gold-orange lining. UH, PERFECT. For what? This!!

I have a pattern that is fairly close to this, and in order to not chance things with a rather expensive wool (though it was 50% off thanks to an awesome coupon) I’m going to stick to the pattern. The fabric is 100% wool, and as close to Tardis blue as I’ve ever been able to find. I mean, I knew it was perfect the moment I saw it, and I’ve been eying this other potential fabric from Mood that I thought was close. Here’s the wool and lining. (the photo makes them just a hint lighter than reality) Perfect perfect perfect!!

I do plan, however, to paint some hexagonal patterns inside on the lining. It’s like a little secret. You have no idea how much I love those little secrets in fashion, those little details that take time to notice but then you’re like that’s just genius.

Now, the pattern is weird and calculates yardage in the oddest way imaginable, so what my mom and I did was to get 2 yards of 60″ wool (it was actually 57″ because I think it was preshrunk… you have to shrink wool before working with it, and you can just hover an iron about n inch above it and steam it. When I did this, the fabric stayed the same, so I think it was already shrunken.) and then we had to redo the layout of pattern pieces. I’m the one with great spacial relations, but my mom’s the one who knows the sewing thing, so I needed her help to make sure that I wasn’t placing the pieces the wrong way. If you notice, every pattern piece has an arrow on it, and every arrow has to go the same way–vertical. Some of the open spaces you see are because I have to cut 2 of one of the smaller pieces so I’ve left space for that.

That is all to say, if you want to make it, now you know. I’ll do a full debrief on the pattern and sewing after I’ve completed it.

I found one of those circle cutter things, and suddenly I know why designers and people who do a lot of sewing use those. So much faster, and straight, clean lines. Awesome.

I’m really excited to make this!

Thing 2: The front of my quilt is done!! I’ve worked on and off on this for a while now, from cutting up tshirts back in… late june–not sure–to finally getting around to sewing the thing a few weeks back. Now I have to add the edging and sew it onto the back and then put the batting in it and then my grandma offered to take me to this shop she knows around here that machine quilts things.

It’s not perfectly rectangular. One side is a little longer than the other. Oops. But for my first quilt, and making everything up as I went with no real idea of what I was doing, I’d say that this is pretty good. Plus it looks cool.

Thing 3: I’m not 100% happy with the sketchbook I made, but I bet if I made another one it’d be perfect. You live and you learn. I’m about 95% happy with it. That’s pretty good.

Thing 4: Here’s a drawing I did in about 20ish minutes yesterday of my little brother while in church. He was rather thrilled that I was drawing him, and every once in a while would move so he could look at it, then return to his original position so I could keep going. It looks exactly like him.

That is all.