Going to BBQ this afternoon, so I'm pulling together fresh potato salad this morning. So much better than pre-made and really easy.
- Boil a batch of potatoes for 20 min.
Waxy/harder potatoes like red ones work better than russets or others you'd use for baked/mashed potatoes.
- Include an egg or two with the potatoes and boil them at the same time, but take the eggs out after the first 10 min.
- Cut the potatoes into chunks to cool, adding a bit of salt, pepper and other spices to season them. If you have malt vinegar, a dash or three here is great.
This is where you can customise the heck out of it to your taste-
How big the chunks are.
Whether you include the potato skins or not.
How much mayo you use.
All variable.
For me egg, cucumber, and dill is a must. You can add red onion, pickles, even cubed up cheddar cheese.
Salt, pepper, mustard with peppercorns, garlic powder, relish, sometimes a touch of cayenne. Again, all of it will vary with your taste.
Mix with mayonnaise, shape to fit your container and top with a light sprinkling of paprika (using a fine strainer to spread it out evenly).
Give the potato salad at least 3-4 hours in the fridge for the taste to really come together. Making it the day before works great.
It's so easy, super customizable and tastes great. No more watery/bland stuff from the grocery store.
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Another perspective drawing lesson:
How to quickly check scale and proportion without a grid!
After critiquing a student's rough room construction I asked if they were okay with me using it as a demonstration since the error they made is a common one.
Once you establish scale with a standing figure, you can quickly compare relative size to everything nearby.
How tall should the object/feature be compared to the height of the figure's ankles, knees, waist, torso, shoulders, chin, or top of the head?
Quick to build and check.
I go through this perspective drawing technique in more detail with more extensive examples here:
There's a tendency for students using perspective to start a drawing with vanishing points, randomly putting things in and hoping it works.
In my latest lecture, I stressed the importance of starting with a well-staged focal point first, then finding the perspective to match it.
Once you understand how to draw things that look solid and consistent you need to learn where to put those things in your scene to organize visual information for the viewer.
The initial thumbnail sketch took between 5-10 minutes.
The tighter build up another 20-25 minutes.
The detailed ready for clean up version probably another 30 minutes.
*Guy on the subway sees my Dungeons & Dragons jacket*
G: Heeeey~! D&D!
D&D is the best!
Me: Yeah!
G: I had the craziest D&D thing happen to me...
(I assume we're going to talk about hus current campaign or playing when he was younger.)
G: I got in a bar brawl for real.
Me: Like, in real life?
G: Yeah, yeah, YEAH! A for real bar fight and, as it was happening, all I could think was "Aw shit, this is just like D&D!!"
Me: Okaay~
G: So I've got two dudes ready to kick my ass and I'm strategizing like it's all a game. Y'know, improve my armor class or disarm 'em or just anything!
I've been teaching Layout + Design and Animation History at Seneca College since 2004. I've taught a bunch of other courses, but those two have been constant.
Today is my last Animation History lecture and that feels so strange.
Seneca's Animation program is undergoing a major curriculum overhaul in September.
The new streams look amazing and will keep our grads on top of the changing industry but within that new structure Animation History as its own course is being phased out.
Concepts and examples from Animation History will be incorporated into drawing and design courses where relevant, but it'll be different from filling a lecture hall, watching each era of film and analyzing them.