The way it has been made The internal structure of a work of art in metal can often throw as much, or more, light on its origin as can be derived from stylistic analysis. Moreover, the techniques employed can provide clues to the habits of mind of the people who originated them. …Perhaps the most important reason for structural studies of museum objects is that the intimate knowledge so derived as to the way in which an object has been made adds so greatly to the aesthetic enjoyment of it. Very often some detail and sometimes the whole of an effective design arises directly in the exploitation of the merits and the overcoming of the difficulties of a specific technique, in the reaction between the artist’s fingers and his material. The Interpretation of Microstructures of Metallic Artifacts historytechniquemakingobjects
ƒ/8 and be there "f/8 and be there" is an expression popularly used by photographers to indicate the importance of taking the opportunity for a picture rather than being too concerned about using the best technique. Often attributed to the noir-style New York City photographer Weegee, it has come to represent a philosophy in which, on occasion, action is more important than reflection. Wikipedia en.wikipedia.org photographytechnique
Iconography It is understandable that those students who must work from reproductions of works of art are usually more interested in iconography than in the more subtle questions of technique and quality, but it is regrettable that technical ignorance should so frequently prevent art historians from considering the whole experience of the artist. Cyril Stanley Smith, A Search for Structure artexperiencetechnique
Understanding technique Technique is an essential aspect of any work of art from a trivial trinket to the greatest painting, and some specialized study of it is essential to full appreciation. Though museum labels and catalogs refer to materials and processes — “bronze,” “fresco,” “parcel gilt,” “tempera,” “lacquer on wood,” and so on — they usually display only superficial attention to the essential details of the artist’s technique. Cyril Stanley Smith, A Search for Structure technique
Resonances The resonances arising in workmanship are often very subtle. The fact that the material itself guides the tool differently in different processes of working introduces changes in the overall relationship of curvatures. The smooth curves of surfaces approaching the edge of a jade axe that come about from innumerable abrasive particles moving against a slightly yielding and mechanically unconstrained backing would seem incongruous if other surfaces or outlines were present that had come from cleavage or from the geometric motions of a machine. These could be produced easily enough, but the eye would not establish larger resonances among them. Cyril Stanley Smith, A Search for Structure toolstechniquecraft
barnsworthburning.net A Website by Nick Trombley barnsworthburning.net What this site isColophonContact meShortlist of interesting spacesBehind the scenes Five barns worth burningExtract (n)Kicks Condor: barnsworthburningNodal pointsMonoskop collectionsnotetakingconnection
What this site is A kind of commonplace book. A kind of digital garden. A kind of Zettelkasten. The front end to a brain. Part research, part dissertation, part art project. A kind of essay, in the sense that it is an attempt. ...but at what? What is a commonplace?A Brief History of the Digital GardenZettelkastenare.naHighlighterThe Art of Looking SidewaysReading DesignEssayerGlaspMaintenance and Care gardens
Colophon airtable stores the majority of the content for the site. the front-end is written using svelte and its companion toolset, sveltekit. it is hosted as a digital ocean app. figma was used for some of the design – the rest was done in code (as I increasingly believe it should be). it is typeset with IBM plex sans Designing with code
Contact me You can reach me using this Airtable form – I would love to hear from you. I'm also on LinkedIn.
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