It is sometimes useful to have criticism of one's work in order to develop it. While studying as an apprentice or an art school student if one is lucky one learns the most from such criticism, preferably put in a positive manner. However when one is on one's own after this experience or has been self taught there is usually no honest criticism of one's work available. One therefore most of the time has to rely on one's own judgement. It is difficult however to objectively deal with one's own work. This short paper will attempt to offer ways of developing an objective attitude to one's work.... (1990) Complete Story
This form may be used if you have an idea for a product and wish to approach a manufacturer. It is a very good protection against a company stealing your idea.
I met a sled designer at a party in Montreal once, we discussed this subject, he had paid thousands in legal fees to have this form designed. He sent me a copy and gave me persmission to share the form.... (1997) Complete Story
Now we're going to start talking about taking the picture - actually getting closer to taking the image. There's a couple of things that we need to think about. One of them is the size of the object in proportion to the image area (remember any cropping action your camera will inflict on the image seen through the viewfinder and also that you will lose some of the edge area under the slide mount). It should be just right, no too big and.... (1996) Complete Story
Three - dimensional objects will be well served by the methods described before, such as overhead diffuse lighting, fill card and mirror use. For flat things (like prints) use copy set - ups which primarily consist of extremely even light on the object and the camera centered properly on the work. Shiny things will need tents. We did, however, ask a number of craftspeople and artists whether there were any special considerations they felt were associated with different media. The following is derived from their comments.... (1996) Complete Story