Day Thirteen - She Made Her Mark
Remember: No emails have been sent for many of the submissions. Patience. I have two more exhibitions to pull. Hold your breath if you have to. I still have a lot of work to do. Thank you so much for understanding.
Today has been a strange day. I've photographed the mock-up from every conceivable angle. I expect that the pictures are going to be very boring. I'm waiting on an upload for Michelle Verbeek. She needs all my huge image files. She will be building the catalog for She Made Her Mark.
I've spent my time labeling the inch scale images. Then one by one I removed the images and placed them, with appropriate markings, on the elevations of each room that will be used in the exhibition at The Marie Webster House. As I worked I made sure the same notations were on the proper wall on both the elevation and the floor plan.
I thought I was done. I counted thirty two. Oh, well, I must have counted wrong yesterday. No, I just forgot to label one of the art quilts that fits in the grand parlor. Fixed that problem. Had to make two copies of the floor plan for the entry parlor. I had no floor plan and no elevations for the staircase and landing. Both are necessary in the hanging. Copies will be made and all documents will be kept.
I am still waiting on this huge upload.
Something I have learned in this process: to select from digital images the only size image really necessary is a six inch high, 300dpi, printable, image. That's the image I drop into photoshop to enlarge and really study. The other 300dpi image I need is the detail that should be an approximate six inch by nine inch portion of the quilt. Remember to frame the detail so that it has good, interesting, design, in and of itself.
With those two images of any work a curator, a catalog builder, a magazine editor, all have all they need. There is no need to again burden the artist with varying dpi sizes. Curating from digital submissions is in it's teething stage. As we go along we will be better able to define what is needed.
I said it was a strange day. Here's why: This is all of the mock-up remains. Once the images were in place on the elevations it was like striking a stage. Curtain comes down. All the stage hands scurry to take everything apart. When the quilting pins (nails) come out the structure starts to wobble. When the plastic clamps (hurricane straps) that are holding various rooms together come off the rooms begin to fall in upon themselves.
The final blow comes with an exacto knife to all the cellophane tape. I wish now I had photographed the step by step destruction.
This is the only shot of the grand parlor that has decent focus. The grand parlor is twenty one feet from the front window to the back door. You can see the back door faintly outlined to the left in this image. Behind the stand up image are the huge bay windows that face north. I did not bother to mock them up as they had no effect on the work I was doing.
A mock up is so different from an architectural scale model. I hope you are beginning to see why it is no more.
This is a birds eye view of the upstairs. To the far right in the background is the east wall of the hallway. There are two more rooms in the background that were not mocked up. One is Marie Webster's room; the other is not a part of the exhibition.
The photography here is simple documentation. Don't expect to see all the accepted works. I could not get the camera into all the nooks and crannies.
This is another view of upstairs/downstairs. You can see how the walls of the rooms are held together with clamps. See how the wall between the grand parlor (right) and the entry parlor (left) has opened up from being moved around on the card table.
A good day's work. Six hours in. The Acceptance List, only for The Quilters' Hall of Fame portion of the selections has been typed. I'll post it tomorrow.
Tomorrow is the start of selecting two groups of art works for The FiberArts Connection of Southern California. Those lists will be published by Tuesday. I'm sorry to be a day late on that deadline. I'm going to try and get all the emails out on Monday.
Today has been a strange day. I've photographed the mock-up from every conceivable angle. I expect that the pictures are going to be very boring. I'm waiting on an upload for Michelle Verbeek. She needs all my huge image files. She will be building the catalog for She Made Her Mark.
I've spent my time labeling the inch scale images. Then one by one I removed the images and placed them, with appropriate markings, on the elevations of each room that will be used in the exhibition at The Marie Webster House. As I worked I made sure the same notations were on the proper wall on both the elevation and the floor plan.
I thought I was done. I counted thirty two. Oh, well, I must have counted wrong yesterday. No, I just forgot to label one of the art quilts that fits in the grand parlor. Fixed that problem. Had to make two copies of the floor plan for the entry parlor. I had no floor plan and no elevations for the staircase and landing. Both are necessary in the hanging. Copies will be made and all documents will be kept.
I am still waiting on this huge upload.
Something I have learned in this process: to select from digital images the only size image really necessary is a six inch high, 300dpi, printable, image. That's the image I drop into photoshop to enlarge and really study. The other 300dpi image I need is the detail that should be an approximate six inch by nine inch portion of the quilt. Remember to frame the detail so that it has good, interesting, design, in and of itself.
With those two images of any work a curator, a catalog builder, a magazine editor, all have all they need. There is no need to again burden the artist with varying dpi sizes. Curating from digital submissions is in it's teething stage. As we go along we will be better able to define what is needed.
I said it was a strange day. Here's why: This is all of the mock-up remains. Once the images were in place on the elevations it was like striking a stage. Curtain comes down. All the stage hands scurry to take everything apart. When the quilting pins (nails) come out the structure starts to wobble. When the plastic clamps (hurricane straps) that are holding various rooms together come off the rooms begin to fall in upon themselves.
The final blow comes with an exacto knife to all the cellophane tape. I wish now I had photographed the step by step destruction.
This is the only shot of the grand parlor that has decent focus. The grand parlor is twenty one feet from the front window to the back door. You can see the back door faintly outlined to the left in this image. Behind the stand up image are the huge bay windows that face north. I did not bother to mock them up as they had no effect on the work I was doing.A mock up is so different from an architectural scale model. I hope you are beginning to see why it is no more.
This is a birds eye view of the upstairs. To the far right in the background is the east wall of the hallway. There are two more rooms in the background that were not mocked up. One is Marie Webster's room; the other is not a part of the exhibition.The photography here is simple documentation. Don't expect to see all the accepted works. I could not get the camera into all the nooks and crannies.
This is another view of upstairs/downstairs. You can see how the walls of the rooms are held together with clamps. See how the wall between the grand parlor (right) and the entry parlor (left) has opened up from being moved around on the card table.A good day's work. Six hours in. The Acceptance List, only for The Quilters' Hall of Fame portion of the selections has been typed. I'll post it tomorrow.
Tomorrow is the start of selecting two groups of art works for The FiberArts Connection of Southern California. Those lists will be published by Tuesday. I'm sorry to be a day late on that deadline. I'm going to try and get all the emails out on Monday.
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