By David Kaminski
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December 3, 2021
Intro Pretty wiped out from yesterday's work, but I'm pushing on. To recover from the failed components, I need to mix more color (to replace what was used on the previous components). Not only that, but I have to do some photoshop work. I'm making a change in how I'm approaching this build. It's going to fix a couple problems, though it will take a bit more color and a bit more work to pull off. Previously, I pulled down the eye components a bit - and tried to assemble them into eyes, nose & glasses in a smaller size. Could I have pulled it off? Maybe. I didn't, though. Component assembly was off by a very slight angle, which basically ruined the build. When I cooled it down to break it apart where the components were assembled, I saw that a lot of the stress from the build remained in the components. Not only that, but I recognized that there might be a better way to approach it. When I'm starting a build, I will analyze an image and mentally build the milli in my head, section by section and step by step. Sometimes, this process is all it takes for me to get from start to finish - in terms of a winning game plan for completion. However, these portraits are easily the most complex and difficult images I've ever tried to finish. So, this is one of those times when the planning wasn't a perfect approach to the build. In building the images, I'm staring at the same picture for hours at a time. Doing this is a natural part of the process, as I'm literally copying the image as best I can from printed image into glass. However, it can almost behave like an optical illusion when you look at a picture for too long. This time, though, I had a breakthrough while meditating on my build process. I decided to go bigger, and not to risk pulling the eyes. Building the rose image actually encouraged this approach, as the rose was a good sized build but not completely unwieldy. So, I'm building the eyes just as I did before. But, instead of pulling them down, I'll be finishing them into the glasses frame and building the nose off of them at their build size. Aside from making assembly a little more straight forward, it should also help with outline consistency. When I build an image and resize too many components or work at too many different sizes or intervals - I can have an issue with line weight. You'll notice it, if you look, in many other artists' images too. Component outlines are usually much thinner than the outlines used in the final build. In seeing this caveat, I realized years ago that I just have to do the outlines on the things I'm resizing thicker - but just thick enough to match where they'll be when they're resized. It's tricky and nuanced and we won't get into it any further here, but suffice to say I'm very grateful for this positive side effect. I'll catch up with you again on Sunday :) With love, David