I get asked about search engine optimization all the time — in the future, I will simply refer folks to this article by Elise Bauer. There is a lot of hype about “SEO” and lots of folks are happy to sell you the service for a steep fee. The truth is that good content and mutual links with competitors and colleagues go a long way toward improving your results. There are other tricks which Ms. Bauer lists, but making useful and interesting contributions to the “interweb” will always be a sound strategy.

I used Galen Berry’s marbled paper on the drawers and endpapers of my thesis project, Coincidentally, he held a workshop this weekend which I had the happy opportunity to attend. I have attempted marbling at home with varying results and was eager to get some tips from an expert. In class, I soon realized the many errors of my previous marbling ways — my paper was probably not coated with enough alum, I was using methylcellulose instead of carrageenan, and my paints of choice (golden liquid acrylics) are probably the least useful acrylics for marbling. I had burned out (temporarily) on marbling after my unsuccessful and semi-successful experiments, but the class renewed my confidence. Examples from my own hand (under the instructor’s guidance) are pictured below.

The marbling process makes experimenting with color a simple task, and I had fun with a crazy variety of color combinations. Some were surprisingly successful and others not so. The large one above is probably my favorite with the red peacock taking second place. I was surprised by how well fabric can accept marbling—the last example is on cloth.

Our backyard catnip plant is protected by a bamboo bird cage so the kitties can only get at the leaves that make their way between the bars. Unprotected catnip is soon eaten and flattened.

It was a tricky thing to photograph my installation since it was quite dark. My thanks go out to Jenna who took photos (on film!), but her camera was fooled by my exhibit and so the resulting photographs were washed out. I planned to make a second attempt with my digital camera—manually stopped down—on the last day of the exhibit before packing up. Yesterday, I brought my camera and tripod but left my 128mb card at home (feh). Instead, I had only the measly 16mb card that originally came with the camera. I tried to make the most of the four pictures I squeezed out of it.

From left to right (click on images for larger photos):
1) The cabinet on its pedestal. The catalog sits on the shelf. The artist statement is contained in a silvered, distressed frame (to match the cabinet hardware, natch) mounted on the wall behind the pedestal.
2) A 3/4 view of the outer doors and inner doors opened. The drawers are velvet lined, faced with marbled paper (by Galen Berry) and opened via grosgrain ribbon tabs. Each drawer is labeled.
3) Section “B” with its contents artfully exposed (artifact styling courtesy of Caton). A “dramatization” (heh!) of the visitor’s experience—normally the artifacts are not hanging out of the drawers like this. It looks neat, though, huh?
4) A close-up of the catalog. (View a pdf of the catalog content [2MB].)

This is so neat. My friend, Mim, thoughtfully forwarded this web site on to me. Brian D. Collier has created a system of names and classifications for all the little bits of stuff that collect in corners, pockets, drawers, etc. You can submit your own items for inclusion, too.

I wish I had thought of it!