My Mother, My Bookcover …

In the Beginning…

…there was a painting. Several in fact. I do a lot of art in various media—jewelry, pottery, graphic art, drawing…but I do not paint a lot. My mother did, though. I grew up with oil paint. The odors of turpentine and linseed oil brings back happy memories of my childhood.

My house is full of her paintings—from the Realism of the 1950s, the Abstract Art of the 1970s…Landscapes in the 1980s, and in the 1990s she switched to watercolor and went all in for Abstract Realism, or Real Abstractions.

Before Watercolor and after Oil Paint, acrylic paint showed up, thanks to Ives Klein’s International Blue and a French chemist revolutionizing paint. Mom tossed her oil paints over her shoulder and never looked back.

Church in Golden, New Mexico

My mother and I did some art together—as in sitting side-by-side drawing. We’d go out east of the Sandia Mountains that overlooks my childhood home of Albuquerque, and draw the weathered shacks and corrals and the old church just off the highway in Golden whose existence came about through a brief history in (wait for it!) a brief history of gold mining.

We also liked to stop up the road in Madrid  (pronounced MAD-rid), and sketch the old houses built during the coal boom that had lasted til the 1950s. Almost everyone moved out, Madrid became a sparsely populated ghost town among the ruins of the old houses built during its heyday. (Or is it “hayday”?)

Miner’s Cabins, Madrid, NM

The old houses were interesting to sketch, while imagining the ghosts that might still be there. Anymore Madrid is a tourist town—all the houses that weren’t falling down have been renovated, and people live in them, as well as operate coffee shops and art galleries out of them.
The film, Wild Hogs was filmed in and around Madrid…

In the 1950s, my mother, Rita M. Simmons, named the highway that we drove to get to Golden and Madrid. It was Highway 10, name changed to Highway 14, and now is Highway 337. But the highway  through Golden, Madrid, and its sister tiny town with a copper mining history, Cerrillos further up the road, comprise what has been known since the 50s as the Turquoise Trail.
She won a set of luggage.

Ok, then…where am I? Oh–yes, my book cover.

If not for my mother, I may not have painted it. If not for my mother, I may not have done any of the artwork that has informed my life on Earth.
Corvus Rising’s book cover is not all paint, however. It’s more a multi-media event featuring watercolor, ink drawing, clip art, and of course Photoshop.

I painted the background of Wilder Island, and the river at sunset. Or sunrise. With the dark forests reflected in the water. There were several attempts. I cut them up and made bookmarks out of them. Here’s what made the cut, in its original form:

Untitled-1

Then the crows came. After the old hermit, Maxmillian Wilder died on Halloween in 1937, thousands of crows and ravens flew in a circle above the island, in mourning. A local photographer, Frederick T. Nelson, snapped the photo and titled it Murder of Crows. In Alfredo Manzi’s time, the photo hung in the Ledford Library.

In my time, I scanned the watercolor painting, hauled it into Photoshop and applied a gazillion actual clip-art crows and ravens flying in a circle above the island. This is the banner image on my Corvus Rising Facebook page.
Adobe Photoshop PDF

Next, in Photoshop, I altered a photograph of a tree, and added corvids–also via altering a photograph and copying it a bunch of times. Like 13. That’s how many corvids are in the Great Corvid Council
WithTree_AndCrows

And now the text…

Publishers have all sorts of rules about book covers—things like how large the font can be on the spine, how much room the fold will take up, and arcane things like slug and bleed—which have to do with the margins around the actual size of the cover. It’s good to pay mind to that so that important things like the last letters of your title or an important part of the cover art doesn’t get chopped off at the printers.

Fortunately, the publishers provide this information and there are many sources to find templates so that cover art and text where you want them. Here’s some screen shots of the guidelines that I used to layout my book cover in Photoshop.

AllCoverText
Front Cover and Spine Text……………………Back Cover Text added…………………Barcode, Publisher’s icon added

In Photoshop, I just typed what I wanted—the Title, or my name, or the back cover text— in a layer over the cover art. And I moved it around and played with fonts and sizes and places until it looked “right”.
It’s tricky to have a complex book cover with lots of colors and make the text show up. So I had to do things like fade out a portion of the spine so the title would be readable; make a separate line of text in a different color over the island on the back cover so it would show up.

For Paperbacks, a Barcode is required, which you get when buy an ISBN# (don’t!—unless you plan on writing a whole bunch of books. One is pricey, and though there’s a price break at 10, it’s still a hundred or so bucks…and 10 is likely more books than I will probably write). Amazon will give an ISBN# and its barcode for free–they buy them by the thousands so one of these things are essentially free to them too.

eBooks do not need barcodes, but like print books, need to have an ISBN#….which gives info on price, who the publisher is, where the book was published, etc. ISBN means International Standard Book Number, and has nothing whatsoever to do with author’s ownership of books… <more about isbn’s here>

Lastly I placed the Barcode (there’s rules about barcodes too…how big, where to place, etc), my webpage address, and a little mouse, for “Ecofantasy Press”–which is my own privately owned publishing company.
That’s one cool thing about self-publishing…being your own publishing company. Not to be confused with who actually physically produces the book in print.

The Whole Enchilada…

Adobe Photoshop PDF

BY THE WAY….I am on the downward side of finishing Book 2, by the way, after 7 years…

Copyright

Quartz: the Series

The α- Alpha  and the β- Beta

The Science & Art of Quartz.

SiO2

Our most beloved gemstone, in its myriad forms…Eleven crystalline and 2 non-crystalline minerals comprise silica (SiO2), though Quartz is the most common form. In our landscapes, in our lives…
Twelve percent of Earth’s surface is quartz, and a full 20% of the whole crust is quartz.

 

Geologists have plotted the various forms of SiO2  over the years, culminating in the diagram to the left.

MySiOinterests these days, and most of my life actually, lie in the blue and pink  areas on the diagram:  α-quartz and β-quartz, respectively.

α-Alpha and β-beta quartz occur in all igneous, metamorphic and sedimentary rock types. Within the alpha and beta fields lie a seemingly vast array of different rock types, all of which comprise quartz.

 

Beautiful enough for gemstones. Revered since antiquity. The ancient Egyptians were gifted artisans whose use of blood-red Carnelian—one of the Quartz gemstones—is iconic and legendary.

It’s ALL Quartz…

Trace elements (e.g. iron) produce the colors we see in all forms of Quartz, though it is not color but size and  translucency that are the keys to the Classification of Quartz.

From Large to Small…Macro to Micro to Crypto. Size matters not only in how quartz gemstones are classified, but how they come to display the endless and gorgeous variation in color and patterns of spheres,  bands and layers–whether smooth or crenulated. And why we love these humble stones more than diamonds.

Today, it’s all about Macro. Following are a few examples of the flavors of Quartz whose crystals are large enough to see without magnification. Tomorrow, the small stuff.

Macrocrystalline: Crystals are easily identified without magnification.

These Amethyst crystals are an example of Macrocrystalline Quartz.

The crystals do not have to be whole, perfect and complete like these. Some Quartz is quite coarsely crystalline yet do not display the crystal habit of the mineral.

 

 

Rose Quartz is a type of Macrocrystalline Quartz that does not form crystal faces, but is composed of many intergrown crystal ‘sub-individuals’

Citrine

Second most popular Quartz gemstone…Amethyst is first.

 

 

 

Ametrine

A naturally occurring variety of Macrocrystalline Quartz comprising zones of Amethyst intergrown with zones of Citrine.

 

 

 

Ametrine cut perpendicular to the c-axis of the crystal. Is that freaking cool or what???

 

Quartz crystal axes: 

Macro…Micro…Crytpo…it’s ALL Quartz.
Versatile, beautiful, ornamental

Carnelian Pendant wrapped in Copper wire.
(and yes, Carnelian is one of the many lovely flavors of quartz, of the Microcrystalline Quartz variety)

Find this and more or my work with the Gifts of the Earth here:
https://etsy.me/2Mobjji

And my Facebook page MCS Artworks

Thank you…

Coming Soon: Microcrystalline Quartz

 

 

References:
Ametrine    https://www.mindat.org/min-7606.html
Ametrine    https://en.wikipedia.org/wiki/Ametrine
The Mineral Citrine    https://www.minerals.net/mineral/citrine.aspx
The Mineral Quartz   https://www.minerals.net/mineral/quartz.aspx
The Quartz Page     http://www.quartzpage.de/crs_intro.html

The Temple of My Imperfection

—that moment when you finally realize that all your efforts toward achieving perfection will never be enough.

Seizing the Wabi-sabi

 Wabisabi (侘寂) represents a comprehensive Japanese world view or aesthetic centered on the acceptance of transience and imperfection. -Wikipedia

crProbably wabi-sabi was first named for what happens to pottery subjected to the hellish temperatures in kilns, around 2,000ºF (~1100ºC). During the firing, the intense heat vibrates all the bonds that hold the minerals together until they come apart, and their constituent ions and molecules cruise around in a melted bubbly mixture that resembles lava, an igneous rock.

The kiln cools, and the pottery solidifies. Sometimes a gas bubble in the glaze pops at that moment and a little crater forms. Or maybe the glaze didn’t come out with a uniform color, or part of it dis-adhered from the pot and crawled away. Or the tea bowl sagged into another pot.

Classic wabi sabi, telling the story of a unique and unrepeatable moment of creation, fired and frozen in time.

Such wabi-sabi moments manifest keshiki–the landscape of the clay; these imperfections do not in any way interfere with the functionality of the piece, and it would be enormously wasteful to throw something useful away because of a surface imperfection.

One over Infinity

SphericalCow2I like to think of firing pottery as a sort of ‘backyard metamorphism’ that changes the pottery, essentially a sedimentary rock, into a metamorphic rock.

I have even made the statement publicly, that kilns are science laboratories in which ceramic artists perform experiments in thermodynamics, which is a branch of science that deals with the advanced secrets of the Universe. <Click here for Out of the Periodic Chart and into the Fire>

We have learned a great deal about the behavior of matter through experiments that rudely resemble the actual physical universe, tweaked by precise mathematical equations that ignore much of the almost infinite variation therein. Somehow we get close enough that the pieces fit together in rude sorts of ways.

Potter’s kilns on the other hand, much more closely approach the actual imperfection that brought us all the rocks on Earth. And the universe. With a great deal of faith, you consign your piece to the kiln. The wabi-sabi is impossible to know or quantify. There are no round frictionless cows.

Pray to the gods of fire, electricity, gravity and magnetism, that what comes out resembles the vision in your mind. Let me take a moment to calculate the likelihood of that.

One over infinity.

There’s always some wabi-sabi.

A Wabi Sabi Moment with Georgia O’Keeffe

O'Keeffe-(hands)I grew up looking at O’Keeffe art—being that she lived in New Mexico, where I was born and spent most of my life. I’d seen her paintings in books and posters for years. Standing in front of famous paintings in real life—no photograph holds a candle to that experience. It’s not just the colors being more alive, or that you get the true idea of the size of the painting. You are close, very close to the act of creation.
And once, I stood mesmerized in that very moment, as close to a painting as the cops at the Georgia O’Keeffe Museum in Santa Fe would allow. I could not take my eyes off it: a single paintbrush hair embedded in a stroke of color. I felt as if I was there in that one moment when Georgia O’Keeffe stood before this very canvass. A million brush strokes in her long life of painting…and there’s this one that put in that single, unique moment of exquisite wabi-sabi.

It was breathtaking.

I’m glad she didn’t see the hair; surely she would have plucked it out. I would have, in the name of flawless perfection that is found only as a concept within the part of the human brain that dreams of round frictionless cows.

Imperfection: it’s what makes the world

The Hope Diamond

The Hope Diamond

Not even crystals are perfect; they all have wabi-sabi.

They found this one really big chunk of blue diamond, cut all the wabi-sabi away, until it was perfectly huge. Hugely perfect. They called it the Hope Diamond—hoping for another humongous one like it.

One over infinity. It happens. But it’s all the other instances of imperfection that comprise the whole dang universe. The perfect parts are so few as to barely exist at all.

I’ve never made a perfect pot, never wrote a perfect book, never been a perfect anything. I’ll continue to put it out there, though, as long as I have a heartbeat. I am but a fragment of the whole wabi-sabi universe unfolding.

I just don’t know what else to do with myself.

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