A moment in the sun

A comedic animated short I started working on in April 2014. Currently in pre-production.

January 2018 recap

Welcome to my January 2018 recap!

Other Perth folk will probably remember this fire..

the Tinies watch the #perthfire smoke drift over

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And of course we all remember the eclipse..

..but what did I get up to this month? Read on!

Synthesisery bits

I got a ribbon controller this month! It’s pretty cool!

I’ve loved the sound of the ondes Martenot ever since I heard it for the first time in the original “Ghostbusters” movie (pretty much the first thing in the movie you hear!). The ondes has a continuous controller called a “ruban” (as well as a keyboard), which is how it achieves those sweeping quivering notes.

The ribbon controller I got this month lets me have that some of that same expressiveness, and by expressiveness I mean hitting the wrong note a lot and having to cover it up with vibrato. Practice makes perfect!

Stuff I built

This is what I soldered together this month just gone.

  • Ornament and Crime polymorphic digital swiss army knife type thingy (3-5 January 2018) [modulargrid]
  • Music Thing Modular Magnetophon cassette tape head (16 January 2018) [modulargrid]
  • RYO 3xVCA triple voltage controlled amplifier (18 January 2018) [modulargrid]
  • RYO 2xVCX dual voltage controlled amplifier/crossfader and four quadrant multiplier (29 January 2018) [modulargrid]
  • Feedback 106 Chorus (30 January 2018) [modulargrid]

The Feedback 106 Chorus build was a bit of a disaster. It uses period vintage chips to get the genuine sound of a Juno 106’s chorus effect. When it works, it sounds bloody fantastic. When it works.

Usually I don’t bother with actual vintage stuff. For all the romance of vintage electronics, the reality is that they’re rare, expensive, unreliable, susceptible to failure, and even being counterfeited in the case of MN3009 chips. This chorus did sound fab so I at least wanted to have a punt at making one, but if the vintage bits turned out to be duds, I resolved to put the whole thing aside and cut my losses there and then. And that is pretty much how it went.

Unlike the 106 Chorus, I got the polymorphic digital module Ornament & Crime working after three nights of building and troubleshooting. This module of legend should keep me occupied for months while I discover everything it can do, let alone how to use that as part of a whole system. Here’s an early test of the o_C in “Harrington 1200” mode sequencing some pleasant Boards of Canada-esque chords.

 

A pleasant surprise this month is the RYO & Kymatica 2xVCX, a dual voltage controlled crossfader. Fading back and forth between two signals at audio rates creates all kinds of fun timbres, sort of like ring modulation (which the 2xVCX can also do). Here’s a little test I recorded which goes all the way from grimy analogue noise to happy little chords!

There’s enough space left for two more modules, both of which I’ve already picked out, but more about that next month! 🙂

Let’s talk Blender! And movies! And spaceships!

3D stuff

Alien Force

The secret project I mentioned back in November was some album artwork for the Alien Force EP. I did a big write-up on it which appeared on BlenderNation. The feedback has been a little sparse but generally positive!

Spaceship!

But that’s old news. Have some new news!

A moment in the sun

I am back in the sun (kind of)! Yay! (Kind of!)

At the beginning of the year I decided I liked the story mostly where it was. It’s the tale of a random labourer helping introduce a laser-obsessed geek to the Ultimate Laser Robot of his dreams. The current plan is to take the last scene of the story all the way through production as a pilot for the rest of the film, which means all I have to worry about for now is one single scene. My attention is contained to that one spot. Hooray!

I’ve been working on Scene 5’s art direction by rendering existing elements out from Blender, turning them into multi-layer images in Krita, then doing quick paint-overs to test out ideas.

Splitting up render layers to import them into Krita

To do this I render two EXR files – a multi-layer version with transparency and all render layers turned on to get each element isolated on its own layer, and a single layer non-transparent version which gives me the sky background.

Here’s the rendered layers fresh out of Blender, looking fairly pristine…

From there I applied filters and painted over the separate elements to test ideas out.

…and here is the same scene altered to get everything looking more decrepit.

In the repainted version the air is hazier, the route marker is crooked, the bus stop is falling apart and the road is sun-bleached. The scene’s still undercooked but this much better than trying to get my thoughts down purely in 2D or 3D. Yay for hybrid approaches!

Character-wise, I’ve been redesigning Pointy to make the character look and feel more like he actually is – a bit happier and younger and goofier.

Many Pointies. The one in the lower right is the current front-runner.

Gronky isn’t in Scene 5, but he’ll be getting an ill-fitting hi-viz jacket when he does finally appear.

Alas, I got bogged down in story decisions around tone and character again. I’ve got some storyboards for that scene but without pinning down how I want to approach it all, I’m stuck. Bah!

I read somewhere that it’s better to have another thing to switch over to than beating one’s head against a single project, so I found one. I work on AMITS until I get frustrated, then switch over to this other thing until I miss working on AMITS too much.

The other thing: Fishtank

An ex-animator friend and I dreamt up an aquatic animated sketch-comedy series many years ago, something that might get picked up and lead to bigger things. We gave it the working title “Fishtank” and brainstormed a few ideas, but we didn’t follow through so it fizzled….

One of my ideas saw a little fish laying a massive guilt trip on its potential predators for daring to eat something so cute and helpless.

My key image, where Shark feels very conflicted about eating Little Fish..

 

A rough exploratory sculpt of the little fish with the big eyes

The predator in question is a great white shark who’s a bit of a softy and slow on the uptake.

An exploratory rough sculpt of the shark. Not quite there yet, but getting closer!

Will the little fish end up a snack, or will the shark get more than he bargained for? Yes.

“Fishtank” is a much smaller project than AMITS, and definitely better sized for one person to work on. I might not finish AMITS this year, but this one I could conceivably get done by the end of the year.

I’ve got the story thumbnailed out already. Here’s the second of five pages of story scribbles which I drew on actual paper in biro then scanned into Krita.

Shark tries to get a chomp in but Little Fish isn’t having it!

I’m really looking forward to writing the music for this as well. It’s going to be an utter hoot writing completely overwrought tragically sad music, like that 1960s library music which Ren and Stimpy used to superb effect.

Despite both projects being comedies, Fishtank is more classic slapstick and AMITS is more inspired by 1950s Looney Tunes which is as indebted to radio comedy as the silents, so they complement one another pretty well.

See you next month with more fish, more sun and the final pieces of DASYRAC! 🙂

What I did in 2017

2017 was a rough year for me and seemingly a lot of other people. Here’s a recap of what I got up to.

Back in April I made RYGCBMK◯, a project which was weirdly central to a lot of what I got up to this year. Here it is if you want a refresher.

I’d wanted to try an abstract short set to music since I went to the Melbourne International Animation Festival in 2015. RYGCBMK◯ was my driver to learn procedural animation with Jacques Lucke’s powerful Animation Nodes system for Blender. I specifically wanted to synchronise abstract animation to a rhythm because I love that kind of synaesthetic stuff and I knew it would keep me going through an emotionally brutal bit of the year.

The end result was not perfect, but I got a high enough average score during the voting process for the Suzanne Awards 2017 to encourage me to try some more in the future. The important part was that there was an end result to speak of. It got done.

And it got done.. with nodes!

Working on RYGCBMK◯ also helped me tune into my artistic sensibilities. Given just shapes and sound to play with, the project took me away from complicated stuff like characters and dialogue to something which let me get a strong feel for the kind of work I want to put into the world.

I made important if not voluminous progress with “A moment in the sun” in its third year of development. I put together a new story reel in January and February, and a short stretch of that is good to go as is even with the big rewrite in May. Flipping Pointy from irascible and foolish to geeking-out cute was a decision that very much happened in the wake of RYGCBMK◯ too.

There was that secret project I can’t show off yet which happened in October-November. Here’s a concept which we abandoned.

The one we actually went with is way cooler.

I learnt Retopoflow this year as well – anyone doing modelling in Blender should grab it. Hard Ops is next on my list of useful plugins to get to grips with.

There was of course AAAAAAAAAAAAAAAAAAAAAAAA which started strong but fizzled. AMITS now has a sweet cockatoo. Here’s AAAAAAAAAAA’s final resting point.

And then there was my first run at Inktober. I started practising with my brush pen and now my inking’s gone from “rubbish” to “slightly-less-rubbish”. This snail got the most likes on Instagram.

#inktober #inktober2017 22. Trail. A snail leaves a trail without fail!

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There wasn’t that much time for art or animation though. RYGCBMK◯’s soundtrack was part of a big jump back into music for me, something I did because I wanted a creative outlet but job stress was (temporarily) making the animation hobby unthinkable. Then it took over.

Just over eleven months after I impulse-bought that ARP Odyssey back in January as a shiny new toy to keep myself distracted, I’m now the owner of a 475HP Eurorack modular synthesiser which I mostly soldered together myself. I don’t need to look at a computer screen to make electronic music anymore (though the PC does come in very handy for recording) and the sound is even produced by old-school electronic components instead of simulated versions thereof. In playing around with it I’ve learnt a lot about how to patch and which modules are for what, but no doubt I’ve only just scratched the surface of what this thing can do.

To me DASYRAC looks sad and naked and unfulfilled without patch cables, but at least this way you can see the actual modules.

This krautrocky jam from early December is one of my favourite tracks I did this year.

I didn’t even know how to solder before I started putting DASYRAC together, but I noticed the kit builds were a lot cheaper so I gave it a try. Now I’m actually happier owning synthesiser modules which I put together myself than modules I bought pre-made, because I’m comfortable fixing my own work when it breaks. Most times when I sit down to prod a busted circuit with a multimeter and pore over a circuit schematic, I learn something new and interesting.

This is the schematic for Music Thing Modular’s Simple EQ with my troubleshooting notes. Looks like I forgot to solder one of the pins on an op amp.

So that’s what I learnt and did in 2017. (Mostly synthesiser stuff, to be honest.) This is what I’m taking away from all that for 2018 and beyond.

In terms of the modular synthesiser and music stuff, the build is almost complete. Once that’s done it’s all about learning my gear better and maybe getting some tunes released on Bandcamp. There’s one or two easy modules I want to have a crack at building for myself too, but that’ll need a little bit of extra equipment – it can wait.

A pyramid monk from AAAAAAAAAAAAAAAA.

In terms of Blender stuff, I want to jump into some short, focussed and contained exercises – animation, modelling, or otherwise. If it’s animation, I source the soundtrack and character rigs from somewhere else. If it’s modelling, I source a design from somewhere else. I go with pre-made assets wherever possible. The key is not giving myself too broad a set of creative decisions to make at once so that I don’t get lost.

By pushing beyond my own creative sphere and not trying to do all the things, it’ll save me time, help me focus on specific tasks, broader my artistic horizons, get me analysing work by other people and build up my confidence and patience again with some experience. With less to do, I can hopefully finish more stuff and get it in front of people to start that all-important feedback loop.

Meanwhile, in the Sun…

As for Gronky and Pointy, I feel like I’ve lived with AMITS long enough that there’s no big surprises left – just a lot to execute on. If I can stay organised and find a good chunk of time every week to work on it (five hours a week minimum is a good pace), it’ll get done. It’ll probably be not the best, but at least it’ll be finished.

The day job may have other things to say about all of this, especially if I score the promotion I’ve been working towards and people keep departing, but we’ll see.

Happy New Year for 2018, and I hope the coming year treats you all well!

December 2017 in retrospect

Seasons Greetings! Although we are still a whole day and a bit away from the end of December, here’s a recap of what I’ve been up to this month.

A moment in the sun!

I last worked on our old friends Pointy and Gronky properly back in May. At the time I felt like I left the story in the best possible place. Pointy’s now a happy little nerd with a laser fixation instead of a simmering angry idiot who wants to get home. Gronky is still a big guy who buries things in the desert.

I’ve started looking for ways to bring the pace of the story up and creatively solve some limitations. So now Gronky digs things out of the ground lightning fast. We never see him do this directly, however – it’s always off-screen. He also buries things glacially slow, just for contrast. This helpfully marks the passing of time as Pointy interrogates the robot.

The line-up, as seen previously..

Speaking of Pointy, I’m revisiting his character design so it fits his new bubbly personality better. On the very first day of December, I rendered Gronky and Pointy together with the bird from AAAAAAAAAAAAAA out of curiosity. Two soft round characters next to an angular character made me realise how Pointy’s sharp edges didn’t feel right anymore. He’s still ultimately a 2D design in a 3D world, but now the spiky sharp angular edges are friendlier-looking flowing curves.

Choosing a design and realising it in 3D is January’s problem.

Other animated things

Other ideas included robot creatures who make weird and fun noises into a microphone while doing strange things. I’ve collected enough strange and delightful noises from the analogue synth which suggest whimsical robots. The working title is “Noisies”. Here’s a slightly hyperactive animation test in Blender Grease Pencil featuring a roboty thing who is definitely not Gir from Invader Zim beatboxing to the introduction of “One Note Samba” by Perrey and Kingsley.

I don’t think the timing is right to start on it yet, but it could be a fun little project one day.

Electronics and music

I expanded DASYRAC by quite a few modules this month, with three pre-mades and five kit builds! (It would have been six kit builds but no such luck.) The last couple of modules are waiting on parts or availability.

  • Music Thing Modular’s Spring Reverb mk 2 (kit). This was a replacement for my Doepfer spring reverb. It’s got a cleaner sound and has more features.
  • Doepfer A-124 VCF5 Wasp Filter Special Edition. The Wasp has a cult following, partly for being cheap and partly for sounding more like an intergalactic shortwave radio than a filter at high resonance.
  • Polaxis Talko (kit). Talko uses old-school linear prediction coding (remember the Speak’N’Spell from “E.T.”?) to say preset numbers and words.. or for robotic burbles and growls.
  • Fonitronik Cascade (kit). A cascading attenuverter for sourcing, attenuating, inverting and offsetting voltages.
  • Befaco A*B+C (kit). A dual quadrature VCA for attenuverting and offsetting signals under voltage control. This is my second one of these!
  • Bastl Instruments Tromsø (kit). This is a triangle oscillator which feeds into a comparator which in turn feeds into a sample and hold circuit, good for analogue “ratecrushing” to add some (fake) lo-fi digital grit over hi-fi sounds.
  • Doepfer A-152 Addressed Track and Hold/Switch. This is a combination of an eight-way switch, an eight-way track and hold and an eight-stage trigger out. Uses I’ve already found for this include a pitch CV distributor and something that allows “hocketing” (switching between oscillators from note to note).

  • Doepfer A-110-6 TTZQ VCLFO. The A-110-6 is a through-zero trapezoid-core oscillator. Normal oscillators stop oscillating when their oscillation voltage drops to 0 or below, but a through-zero oscillator treats a negative oscillation voltage as a mirror of a positive oscillation voltage – a negative voltage just means “oscillate in reverse”. You can use this to create otherwise unachievable frequency modulation sounds. Here it is in action.

through zero oscillators in a nutshell

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I’m at a point now with the modular synth where I’m recreating particular synthesiser topologies or experimenting with techniques as learning and familiarisation exercises instead of adding more stuff to what I have. With a modular synthesiser it’s hard to know precisely what I’ve got, because different modules connect to one another in different ways.

I still want to try to build my own simple modules to fill a couple of gaps. I wouldn’t hate to have another buffered mult or a window comparator, for instance, and both of those things are relatively easy to put together from op amps.

I impulse-bought a theremin kit at the local electronics store. It was a bit disappointing. People go on about how cool theremins are but I find them forbiddingly fiddly and I much prefer the sound of the ondes Martenot.

That’s all for now! Thanks for catching up. 🙂

November 2017 happenings

Greetings, interweb. Here’s what I got up to in November 2017, starting with…

A secret project!

Can’t say much about this yet. It was a freebie album cover which I took on for the experience and to stretch my abilities beyond my comfort zone. I relied heavily on a certain Space VFX series and a classic thread on BlenderArtists for inspiration and techniques.

Once the associated project is out, I’ll show it off. 🙂

Animation and other Blendery stuff

The speedy green antics of AAAAAAAAAAAAAAAA have been shelved for the foreseeable future. My heart’s not in it, but at least it yielded a great little cockatoo rig who also fits into the visual style of AMITS. Maybe he can hang out with Gronky and Pointy…

Does the cockatoo need big thick eyebrows as well? Answers in the comments.

Speaking of those two, I patched a nice zappy electricity arc sound for the robot in AMITS. This is a random five second excerpt from that session. (Warning: loud.)

Electronics and other beepbooping

Through the magic of soldering, I’ve added distortion, another audio mixer and another sequencer to DASYRAC’s arsenal of goodies. Here’s the distortion, featuring its quirky LED limiter section.

at least I got the Optodist finished. look at those little green blinkers go!

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I also bought a drum machine because I got tired of patching together basic drum sounds every time I want a beat. I’ve started looking into Arduino to see what I can do to trigger it from the patchbay instead of needing to rely on MIDI.

I started doing write-ups on all the modules in DASYRAC too. There’s about fifty of them so I’ll still be doing write-ups a year from now if I can’t get through more than one per week.

That’s all for November. See you again soon!

Giving up right

Preface: This post deserves some background. For the month leading up to this I’d been depressed, physically ill, getting switched around on projects at the day job and generally having a crappy time of things. My living routines were disrupted, the illness was making it hard to catch a whole night of sleep and things that were once possible seemed completely implausible. And through all this, I still had a journal to write…

It’s been 17 to 23 September 2017 but I’m posting this at dawn on Sunday the 24th. I can’t seem to shake this cough and I don’t think I’ve had a full night of sleep in a week. Tonight will probably be more of the same.

This would have been the weekend that AAAAAAAAAAA wrapped up, being as this is the Queens Birthday long weekend, but bouts of illness and dayjob stress all ground its precious momentum to a halt before it reached any kind of releasable state. There’s still no soundtrack and it’s still three shots long.

Truth is, I’m not inclined to pick it up and keep going with it, either. I’ve lost my taste for doing any animated film stuff, honestly. Doing the solo animated film thing isn’t viable for me right now anyway, so it makes sense to switch to something else.

Something like learning how to use all these nifty plug-ins I’ve bought (e.g. Retopoflow), or getting to grips with bits of Blender I avoid (e.g. hair system and physics), or just smashing through the model-rig-texture workflow over and over without trying to fit the result into an overall project. Something like honing skills and getting out there: entering competitions; drawing (or speedsculpting) during work breaks; identifying and filling skill gaps; generally keeping the juices flowing while banking a lot of short focussed work. I went through some of that process with music so I already know the value of it.

“I’m grinding” doesn’t sound as grandly impressive as “I’m making an animated film”, but I can live with that. My ambitions are more practical now.

Thanks for reading!

Afterword: Not much changed as a result of this resolution. I continued to cough and splutter my way through the week and feel out of sorts. Resolute blog posts change nothing.

Happy Pointy saves the day

It’s been 21 to 27 May 2017. National Reconciliation Week has just begun here in Australia. Most of my week was taken up with synthesiser-building. The last three nights I’ve been burning the midnight oil building and troubleshooting a Bastl Instruments Noise Squared. It’s all working now and I feel very accomplished. 🙂

http://www.dzsc.com/icstock/uploadfile/200913102222986.jpg

A pin diagram of the MCP6002 linear op amp. Not shown: capriciousness.

AMITS is showing signs of life too! It’s helping a lot that I’m much less uptight about whether it’s going to turn out “good” anymore. RYGCBMK◯ has been useful for that: there hasn’t been much in the way of interest and that takes the mental pressure off. The positive reactions I got from RYGCBMK◯ have encouraged me to tap some of that same merry energy for AMITS. I feel like it’s better for me to just have fun with this and get that fun up on screen.

I drafted a new story pass in note form last Sunday and it’s looking promising! Pointy’s upbeat personality is so much nicer to work with than his previous stupid/mean incarnations. His new attitude means the story flows more straightforwardly, the pace is swifter, the energy level is higher, the humour is spread across both action and dialogue… it’s a good start!

The middle section of the movie sees Pointy meeting a “laser robot”. Pointy’s nerdy excitement for all things laserly and robotic becomes disappointment as the robot turns out to be a malfunctioning dud. Accordingly, I’ve been coming up with unimpressive stuff for the robot to do all week. The ideas so far are unusable, but that’s ok – experience has taught me that usable ideas come from unusable ideas and I just have to keep pushing through it patiently without falling in love with any single gag too much.

The goal here is to create a large pool of ideas then select the ideas which fit together the best while maintaining the tone I want. Having a solid grasp of the movie’s tone removes a major source of indecision for me, and indecision is a big part of why this isn’t done yet.

https://3.bp.blogspot.com/-7gEBJ61HvAA/UT5MiCcB6qI/AAAAAAAAAjw/-I79_poRUis/s1600/DSC_0168.JPG

Here is the metaphorical pool of ideas I am trying to create. Starfish pattern optional.

That’s all for now. Time to catch up on the last of the soldering before the next salvo of Eurorack kits get here…

Same Sun, different Pointy

It’s been 30 April to 6 May 2017 and A moment in the Sun: Robot is back in development again.

I drafted a new synopsis this week with a fresh take on Pointy as an utter geek for robots as long as they have lasers. I like this new arrangement of two upbeat characters in a situation as opposed to an upbeat character versus a grumpy character.

If Pointy’s seeking out Gronky for his cool robots, as opposed to wandering through the desert aimlessly, there’s much less to introduce and set up, which means the pace is sped up considerably and there’s less movie to make. It also fits together more organically as a story – Gronky’s job of burying stuff in the desert stays the same and even has some relevance to why Pointy meets up with him.

Not much else to cover this week – the day job has been super-draining – so please enjoy this Australian comedy sketch featuring cult favourite Milo Kerrigan (played by Shaun Micallef) attempting to cook a chicken and destroying both the set and the script in the process.

Two little things

That was 19 to 25 February 2017. This week I devised a couple of character and plot notes for the introduction.

With Gronky, I want to emphasise a giddy enthusiasm and affinity for technology. He also has a giddy enthusiasm for burying things, which is his “job” in the desert.

For Pointy, I came up with a backstory which shows his anti-technology character trait and explains what he’s doing in the desert. After a big night out, he catches a self-driving taxi but impatiently gives his home address as “Western Australia” before blacking out having a nice sleep. The taxi dutifully drops him off roughly where the words “Western Australia” appear on a world map.

Somewhere, a chief ops officer is seeking emergency legal advice…

These two things give the characters a sharp point of difference that plays out in the story. I’ve been down the “recounted backstory” path before though and I’ve found it tricky to do well, plotwise. And so it goes into the ideas bank, along with my other ideas. If I still like it next week, I’ll take that as a good sign. 🙂

That’s about all I got done, movie-wise. I’ve just been too busy this week enduring high stress and late finishes at the day job, swotting up on cognitive behavioural therapy and sensory processing sensitivity, cutting my caffeine intake in half and getting withdrawal symptoms, tapering off diazepam, and training myself to follow a screen-free pre-sleep routine.

Somehow with all this going on I still have some weird primal need for creative expression. So instead of animation, I’ve started making music again, improvising jams with old-school electronic instruments and dreaming up some new sonic toys to play with. The workflow is pretty loose and unstructured and fun, and I managed to make at least one piece I really like. But that’s a whole different blog post. 🙂

A light in the ongoing rough patch

Time to recap 12 to 18 February 2017. This week I’ve focussed more on getting well than making stuff.

I got the pitchamatic for the second and third part of the movie cut together and put it in front of a couple of reviewers. The feedback I’ve got is that things are weirder than before but still funny. Funny-weird is fine by me. 🙂

After months of not having the story in video form, it’s great to see the characters up and moving again. Even from that I’m getting new insights into where the characters come from, and the kind of story I’m telling is much clearer. Hopefully that clarity will assist with the tricky task of writing the introduction.

Alas. Job stress, anxiety, lack of restful sleep and other stuff have made it hard to maintain a clear creative vision of what I want. My brain is just too unsettled and preoccupied to really focus. It’s far from ideal.

Figure 1. What it’s been like on the inside of my head lately.

Without a good sense of what I’m aiming for, I’m liable to get stuck in endless tweaking and trying other things. (“Do I like this? How about this? Do I like anything?)” Even with that vision, I could be super attached to a particular idea one day, then dump it for a new idea which makes the story more concise and interesting but gives me more work to do. (“Did it really need to be changed?”)

Anyway. Instead of floundering and tweaking and getting nowhere in a cloud of self-doubt, I’m writing down prospective in unstructured point form as an idea bank. I know I have particular plot points to hit – points like “Gronky meets Pointy”, “Pointy is lost”, etc – but it’s more pragmatic to bank interesting little ideas that I don’t have to commit to rather than trying to piece together something bigger (or tweak something that already exists), especially without a strong notion of what I’m aiming for.

Little things I can do. Big things will just have to wait until I’m feeling up to it.

Navigating a rough patch

It’s been 5 to 11 Feb 2017. It’s a quick entry this week by contrast to last week’s 19th Century Russian novel!

I was working on the introduction again this week. I had an outline I liked. I scribbled thumbnails down one side of it on Sunday (see header image) and I was feeling really good about it. I even tweeted that I had it. I let it sit for the mandatory day or two and – surprise surprise – it’s not where it needs to be.

Getting carried away with early drafts happens, but it doesn’t help that I’m also going through a rough patch right now. I’m dealing with way higher stress levels at the day job than normal; I’m staying back late at work much more often. Even figuring out how to make the new employment arrangements work effectively has been a challenge, let alone getting work done. It’s severe enough that I’ve been in counselling for anxiety for a few weeks – it’s helping, but there’s a lot to work through. Unseasonably winterish weather here in Perth with record low tempeatures and rainfall isn’t helping matters either, since I’m very much a summer person.

So with all that’s been going on, I’ve been especially wiped out and it’s made me super indecisive. So instead of getting bummed out with aimless tweaking work on the introduction, I’m going back to the layout images I already have to create a pitchamatic (narrated storyboard video). Seeing the second part of the movie unfold in video form should give me a much more tangible sense of what I need to introduce and how, and it’ll be encouraging to see Pointy and Gronky do their thing again. 🙂

See you next week!