We missed a week, I know. I also know that you are very understanding of the 'sometimes' format of this newsletter, so I do not have to feel like I am letting you down (a relief).
I have said this before I'm certain, but I do find Instagram to be the best place to combine word and image and thought. Saying this, I would like to reach an even more seamless way of posting both illustrations and photographs, because putting the two side by side can be difficult, and it's why I so often choose to post the photographs on the Instagram Stories (example below), which last only a day (but unless you have an account yourself you cannot view them, and so this is a rather flawed way to share my thoughts with you).
ON THE JOURNAL THIS WEEK, ETC:
Words within other words. Nothing else because the journal was rather abandoned to focus on everything else under the sun; I have gotten some good writing done though, some of which may find its way to the journal in abbreviated form in the coming days and weeks. Really I would like another measure of time that is longer than a week but not as long as a month.
WORK-RELATED NEWS:
I recently finished up the typographic map that I mentioned two weeks back, which unexpectedly ended up being one of my favourites and will soon join the other countries in Jodi Ettenberg's store.
I've also been working on a style guide, which may be the beginning of exciting products in Japan, gently developing ideas and draft illustrations for book three (insert tired shrieking here), and generally spending far too much time feeling completely exhausted which has meant anything work-related has been happening far slower than it might otherwise.
THIS WEEK I FELL IN LOVE WITH:
These beautiful kraft paper and pencil animations by Nancy Liang—the details! the softness! the textured surfaces!
'From time to time we love to stop and marvel at the mathematical wizardry of artists and designers who make GIFs with code, but Sydney-based illustrator Nancy Liang takes an old-school approach with her imaginative scenes made almost entirely by hand. There isn’t a single element in her animations that doesn’t begin as a physical drawing or object. Liang works mostly with kraft paper cutouts and pencil drawings, all of which is carefully planned in copious sketches before each element is scanned and animated in Photoshop.'
The end.
I'm going to be away from the studio both next Saturday and the one after (and the entire week in between those two), but am hopeful that at least one of the Saturdays will result in a newsletter.
If this one has resulted in any thoughts on absolutely anything, I'm always so delighted to hear from you—save me from my current state of mind which is surprisingly flat and relatively motionless.
Farewell, see you next sometime.
Copyright © 2017 Ella Frances Sanders, All rights reserved.