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Bright Lights, Big City: Tips for the Artist Making the Move

Moving to the City has been a popular topic around here lately. I just met with a student a couple days ago pondering whether to move to NYC, Chicago or stay put. And our friend and artist Bernadette Witzak* just moved to Chicago last week. We're really excited for our friends in this position because after finishing a degree, moving to the City seems like the next logical step for any creative person. Nick and I did it ten years ago.

We landed in Chicago with no jobs, a couple personal connections and separate studio apartments in the same building overlooking the Lake. Fast forward seven years and we both had successful careers in the fields we went to school for, we were married, and living in a mid-rise apartment in Wicker Park. It wasn't always a direct route, but our path to finding the jobs we did were ultimately a lot of luck and even more elbow grease. Here are a few basic things to keep in mind as an artist/designer/photographer/curator/creative hopeful when you're making the jump from school and/or smaller town to career and/or big city.

*Bernadette, being the catch that she is, started in Exhibitions at the School of the Art Institute of Chicago. Congrats!

An Education

Nick and I have both rounded out our professional tasks this Fall with the addition of teaching. It wasn't something that we set out to do but we're both big proponents of learning and by teaching we actually learn a lot about our craft and how to improve what we do.

I've taught art classes since college, mostly K-12 in drawing, painting and ceramics and more recently pre-college courses in Fashion Illustration at the College for Creative Studies in Detroit. But over the last few years I've had more interest in guiding people toward their achieving their goals. When I was at the gallery, recent grads would come seeking internships or placements but because the fine art world was and has always been a difficult landscape, I wouldn't be able to get them jobs right out school. There were a few exceptions, of course, but most had to travel a meandering route to get to where they wanted to be. And that's not so different than what I had to do to become Director at my last job.

Witnessing the triumphs and lackluster job market, it has only driven me more to help students succeed. Next month I'll be lecturing at the Penny W. Stamps School of Art & Design on breaking into the art world as an artist. From there a series of workshops will be tailored to fit the needs of those students that are most vested in making a profession out of being an artist or designer. Since this is the first program of its kind, this experiment will most certainly be a learning experience for me as well. I'll fill you in as the program grows.

Over the last four months I've also taught private art lessons in people's homes. Ranging from elementary up to adults, people are seeking out fine art skills but with more personal attention. We get to talk much more in depth about abstraction or why something is a technical versus fine art drawing. It's really engaging both for them and for me.

Nick is doing something very similar in his line of expertise. This past week he started working with Bright Futures, a program based out of Eastern Michigan University. He gets to work with high schoolers in the Ypsilanti public school system, teaching them digital photography with new Nikon DSLRs. He'll tackle composition, F-stops and exposures, lighting and all the fundamentals that will get them shooting their own professional portraits. There's been talk of an exhibition or publishing a book, or both. This type of initiative gives the students a chance to explore a profession with a professional before they reach college level. We're both really excited about this prospect and Nick loves sharing his knowledge of lighting, which is really what photography is all about.

We've also had the chance recently to offer our food styling and photography as a day long workshop because people are interested in the tricks of the industry.

Like I said, teaching is not something that we set out to do but education is vitally important to every industry and job you could ever hold. If you have interest in learning about any aspect of what we do, art or photo-related, feel free to send us a note.

Artist Profile: Kelly Ventura for Crate & Barrel

Kelly and I met in Book Arts when we attended art school years ago. I always remembered her pieces for being subtle and thoughtfully brilliant. We crossed paths again in Chicago when she was showing her incredible fiber pieces at the gallery where I worked and at The Renegade Craft Fair. Now we're all back in the Ann Arbor area and Kelly is a full time product and surface designer. We were so thrilled to hear that a line of her illustrations had been picked up by Crate & Barrel to be reproduced for their Spring 2014 art print lineCongratulations, Kelly!

N captured some great shots of her working in the studio in preparation to send to C&B for their artist profile.

 Kelly works largely in watercolor and pen. She has a beautiful signature style that's whimsical and saturated with color.

See more of Kelly's work at and her Minted site. We can't wait for her collection to come out next spring - look out for it!

To have your works of art or yourself captured in the studio, give us a call at 734-929-2498 or email us at

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A Bear of a Time: On the Set with Filmmaker Gus Péwé

Our good friend, artist and sculptor Tim Péwé has a son who's equally as talented in another medium - film. Gus is still a student (he'll be attending California Institute of the Arts this Fall) but a budding filmmaker that's already debuted his works in various places. This past week N shot a costume that came to be with the help of his parents and producer Robert Hoxie, with spiritual guidance from Tommy Colangelo. It's a costume that will be used in his upcoming film, Same Ghost Every Night, which reached a successful Kickstarter campaign goal recently. The photos not only document how awesome the costume is but will be used for promoting the film.

There was a lot of horsing around in the studio.

Below, Gus, Tommy and Robert keep it real.

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How to Sell Your Art and Other Helpful Tips

Yesterday's post on pricing student or "emerging" art work tackled the difficulty of pricing your works to move. But maybe even more difficult is gaining the exposure and putting your works in the right venue to be seen and sell. When I was talking to Paula Shubatis about the value of large scale oil paintings, I was also considering the proper space for the pieces to be hung. She had a really great idea to have a non-profit sponsor so that she could apply for a permit to exhibit in an alley downtown. I immediately posed the question, "How will that make you money?" Yes, it would gain her intrigue and possibly some press, but I was concerned with how she was going to be rewarded for her efforts. Too many times we think about the work but we don't know how to translate to tangible values. Most of society is already programmed to consume art in small manageable pieces so while seeing a painting in an alley might be exciting, it might not speak to a buyer or get a buyer to come out to the alley to begin with.

Paula answered that it probably wouldn't be a money-making ploy but the alley would complement her painting. Although it would be for a short time, I had to agree. So we started brainstorming on how she could further the visibility of her paintings and who her potential clients were. This is what I suggested researching.

Corporate collections

Although many have been dissolved over the years, corporate art collections were and still are a barometer of a corporations success. The historical, educational and sophistication level of a curator's choices can communicate a vast number of nuances to a client. Some focus on specific topics relevant to the company but most are diverse and worth millions of dollars. I suggested to Paula to research any collections that were still active in the southeast Michigan area and send a professional letter and images to those that collect contemporary.

Art Fairs

From creating enough inventory to sell to the logistics of travel to getting into the fair itself, the career of a professional artist is a tough one when you're traveling cross country to sell your wares. But I know some very successful artists that make a living of this and they love what they do. Research each market, figure your costs (including booth fees, lodging, food, airfare/gas, insurance, shipping if needed) and try out a local one to see if you like the art fair circuit culture.

The art dealing culture has changed drastically over the last decade. Gone are the days of sending slides and lugging heavy portfolios to the gallery. While it may still stand as the pinnacle of an artist's I've made it moment, getting representation is getting harder and harder each day as galleries downsize and restructure what it is to be in a gallery's stable of artists. Now there are an infinite number of online galleries and stores to sell your work. Besides the ever popular Etsy, there's also Big Cartel, a foolproof store that handles your art sales and monetary transactions safely.

If you are interested in going the traditional route of being represented by a dealer, read the instructions carefully and make sure you include everything they ask for and nothing they do not. Use the best materials you can afford and have friends or colleagues proof all text. Also, do not send unsolicited packages. I used to be an American art dealer (known impressionism, modern and contemporary works) and would receive numerous packets from artists. Had they taken the time to research the website, they would have seen that I generally worked with museums and collectors to sell paintings by deceased and market-established artists. Vet your galleries carefully and save yourself the postage!

If nothing else, having a website is a must. Take clear, well-lit photos of your art work and make sure your site is easily navigable and concise. Include an artists statement and any information that will intrigue your clients. Branding yourself properly is probably the most important tool of all.

Public and Temporary spaces

Like Paula's idea to show in the alley, outdoor spaces garner attention from people that might not normally see art. It's exciting, fresh and enlivens a space if it's installed properly. Remember to consider the logistics of transporting the piece, whether you need electricity, if it's safe from the elements, if you'll need a lock or security overnight and whether you need to insure it for potential loss or damage. All these things considered, public art is also a great excuse to garner publicity...

Getting in front of a buyer is difficult without a dealer or gallery. That said, there are many perks to representing yourself, namely not having to pay a share to the middle man. But that means you have to know how to talk about your work and how to publicize it. I always tell students and artists to learn to write a press release. It's one page, has all the relevant information a magazine, newspaper or TV would need to cover your story. But make sure it's newsworthy before you send it. It's also important to make rounds at the art fairs, openings and museum circuit. Learn not only to talk about your work but art and design history in general.

There are tons of details that go into the success of an artist and these are just a few starter tips. Sometimes it's just a matter of knowing the right person, being at the right place at the right time...but I like to believe that forethought, planning and talent matter too. Good luck!

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Emerging Artist: Paula Shubatis + How to Price Student Work

The last couple months have been a wonderful blur. We went on maternity + paternity leave and have spent some much deserved time at home with out little one. It's an amazing adventure and it's bittersweet to return to the real world after a long hibernation. But it feels good to be back. One of the few trips that have led me out of the studio recently was a trip to meet Paula Shubatis, a senior at The University of Michigan Penny W. Stamps School of Art & Design. She was having trouble figuring out how to price her works. When I arrived at her studio, I was in awe of the caliber and scale of her handstretched oil paintings. Not only were they superbly executed, the content of decaying architecture and complementing organic forms required real investigation.

Sous Bois

The following are thoughts from Paula about how she found her way as an artist and painter, what her process is and how she sees her career in the future.

I’ve always been a maker.  Whether it was drawing on the walls, or making my own iteration of the Sistine chapel on the underside my mother’s mahogany coffee table, I’ve felt the constant need to make and do throughout my whole life.  But, it was not until high school that I was able to get a better technical knowledge of making through art classes.  After taking AP art in high school, I knew that I wanted to go to art school.  I came to art school under the false pretenses that I would go into something practical like graphic design, but secretly always knew that I wanted to be a painter.  Experiences with design only affirmed that I was awful at it, and it gave me great anxiety.  Through this rejection of design, I found my love of physicality of craft, in the realms of painting and fiber arts.  Once I found my genuine love and passion for making, I not only knew that I wanted to be a studio artist, but I had to be one, because I wouldn’t know what to do if I wasn’t.

f. The Dance of the Arcadians

"Foraging a Vernacular Identity" is inspired by my curiosity of the mysteries which lie in the ordinary places which surround me.  I have a strong fascination with how systems of math and science are at play to create the poetry of a space, but could never hope to understand them.  I find myself drawn to painting nature and architecture because of their inherent relationships to math and science.  My paintings are a series of experiments through which I break down shapes, colors and forms of spaces into modular units, and reassemble them to try to figure out how they work.   I like to manipulate different variables like scale, directionality of marks and orientation to play with how the viewer might perceive a space. I often combine different variables of multiple spaces to create one hybridized space.  This process of experimentation and analysis becomes deeply introspective, and I find that I project myself onto spaces which I paint.  I convey my own sense of a fractured reality and disjuncture with the world though a dialogue between degenerate architecture and nature.

Painting requires one to operate within a very peculiar state of being.  It asks one to be conscious, alert, and responsive at all times, and maintain a dichotomy between an idea, and how that idea actually translates into paint.  Painting asks one to suspend disbelief, and allow one’s self to become immersed in the surface.  Immersing one’s self in a surface demands a full commitment to the surface, and coping with the inevitable possibility of failure.  The surfaces which I grapple with aren’t just fictitious worlds, but they are also my own selfish spaces where I discover and share my most intimate secrets.  It can be very difficult to reveal the truths which I find within my paintings to both the viewer and myself.  It takes just the right mix of self-doubt and brazen confidence to have both the courage and motivation to make new discoveries.

SnaggletoothPainting will always be something, which I always do, even if I had to dig up cadmium from the earth.  I see painting as a mode of visual communication.  I hope to share this mode of visual communication with others through making and outreach as a teaching artist, and also as a gallery artist.  As long as I have the means to do these things, I will be happy.  While the life and career of a studio artist might be more turbulent than those of other professions, the joy, satisfaction, and fulfillment which it gives me are well worth it.

It's evident that Paula has a clear understanding of her work and how to talk about it, which is a great portion of an artist's ability to sell their work. Her concern of striking a balance between asking too much and too little (since she is after all, a "student artist") is a common one among the art school set. But here I was, staring at eight foot tall works that in any retail setting would go for tens of thousands of dollars or more and yet, I had to tell her something that would appeal to a collector, perhaps visiting the senior show with or without an intent to buy. There are two areas to consider when you're selling your work: practical and sentimental.

The Prodigal Daughter

How much time did you spend on the piece?

How much did your materials cost?

Is this a special medium/something rarely seen?

What's the market like in your area? (this may be a non-issue if you're selling your work nationwide or on the internet)

How much are you willing to let it go for?

Are you just trying to make a first sale?

If money was not an issue, what would you pay for it?

Once you've considered these factors, you should have a clearer picture in your mind of what you're willing to let a work go for. One issue that Paula brought up was her status as a student and how that may affect a buyer. There are plenty of talented graduates that go on to show and sell work immediately out of college and I don't believe they should be shortchanged just because of their newness in the industry. That said, I encourage young artists to coin themselves "emerging" or "contemporary" to get away from the stigma of a "student artist." Because yes, starving art students should make a dollar but it should be a fair amount that they feel is respectable.

On a side note, I want to address those that don't want to sell. At some point, you'll create a work and think, I'll never produce something this good ever again. This is the best work I've ever done and I can't sell it. But consider this - if you don't sell it, then what's the point? I see "NFS" (not for sale) on pieces at shows and that negates every reason to create work in the first place. If you document it with great photos and remember the process, believe me, you'll create something even better in the future. Better to have a collector enjoy than to hold onto something so precious because you think you won't obtain a higher standard of craft than where you are now. That's silly, isn't it?

e. Ponte d' Chaos

You may be wondering if I gave Paula a concrete set of numbers to work with. And yes, ultimately, I did. For the large ones that stood about 8 feet by 6 feet, I recommended a range of $8,000-10,000. For the smaller ones $4,000-6000. I took into account the number of hours, the polished nature of her work, the content and the overall feeling of her paintings. They're truly monoliths, worthy of a large space such as a corporate lobby or a collector's living room, somewhere with high ceilings. A few of Paula's pieces will be for sale at the Senior Show coming up on April 19th and I'll be anxious to hear the feedback she receives and give any pointers I can to facilitate selling her works.

The next post will be about how to sell the works and get publicity in the local market. Feel free to add to the conversation or post questions. We're all in this together.

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10 Terms that Should Be Banned From Art School Critiques | Print Out Poster*

Today's post is for all the art students out there. As an art student, I spent a lot of time in critiques, or what we called "crits". My non art major friends couldn't understand how I could be in class for six hours, three days a week and still have another studio class in the evenings. A lot of it was work time but toward the end of any assignment or quarter, we had to sharpen our arsenal of vocabulary and artist references to sound witty in front of our peers. At best we would ignite discussion. At worst people would sleep.

There were the crit virgins that would say, "I really like the shade of blue you used, it works really well in contrast with the background," to which some professors would really nail them to the wall. You couldn't just "like" something and slink away. You had to really challenge the creator and question why he or she made the decisions they did. Which brings us to the insufferable ones that absolutely relished in waving their art school card in the air. They frivolously used every art crit keyword possible and they made each minute feel like an eternity (insert eye rolls here). For all of you that are still suffering through this hardship, I've created a list of lingo that should never be uttered in crit ever again. It'd make a great gift for an art student or maybe it'd just be a fun drinking game (not during class, of course).

*Feel free to print but please be respectful of usage. Thanks!


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Chautauqua Opera presents ‘The Bremen Town Musicians’ for Family Entertainment Series

Before the 2018 Chautauqua season began, four of Chautauqua Opera Company’s Young Artists performed an opera in county schools. Four weeks into the season, those artists will perform that same opera at Chautauqua one last time.

“It’s a nice end cap for us on this project. We worked on it here. We put it together very quickly, and then we went out and lived in it,” said Young Artist Patrick Dean Shelton. “Now, we get to bring it back to Chautauqua and share it with the people who let us go out and share with other people. It’s going to be our ‘thank you’ to them.”

Chautauqua Opera will present The Bremen Town Musicians at 5 p.m. and 7 p.m. Tuesday, July 17,  in Smith Wilkes Hall as part of the Family Entertainment Series.

John Davies’ fable follows four animals who unite to help the town of Bremen. The cast and crew include Kimberly Hann as Barcarolle the dog, Shelton as Eddie Pensier the rooster, Brandon Bell as General Boom the donkey, and Kayla White as Dorabella the cat. Kaley Karis Smith serves as stage director, and Rick Hoffenberg will accompany the Young Artists on piano.

The Bremen Town Musicians has a “grab-bag of good morals,” Smith said. The opera stresses the importance of being a good friend and thinking for yourself. It also conveys the theme that anyone can enjoy and make music.

The opera takes well-known compositions, like Verdi’s “La donna e mobile” from Rigoletto, and changes the words. Because The Bremen Town Musician uses familiar pieces, the opera is easily accessible, Hann said.

“We really enjoy what we’re doing, so I think no matter your background or your age, you’ll be able to see we’re enjoying what we’re doing in kind of a different way than you would have seen in Don Giovanni in the Amp,” Hann said.

The hope with this performance is to present opera to people who might have been hesitant to go to the mainstage performances, especially those with children.

“You need a way to be exposed to this and a way that gives people, without an experience in opera, a friendly introduction in a manageable dose,” Hoffenberg said. “I think it’s doing such a great service to the community by allowing us to present to young people an entry into opera.”

Shelton said he’s glad to have the “band back together again” for the two performances. Shelton loved his experience teaching in the schools and said it will be nice to share what the Young Artists did with Chautauquans.

“Doing the shows in the schools re-energized my entire approach to what I’m doing,” Shelton said. “I’m happy to do it one more time.”

Tags : Chautauqua Opera CompanyChautauqua Opera Company Young ArtistsFamily Entertainment SeriesThe Bremen Town Musicians

The author Georgia Davis

Georgia Davis is a rising senior at Ohio University, where she studies journalism. Georgia covers the Chautauqua Opera Company and Children’s School for the Daily. Georgia is a cinephile, and her favorite movies of 2017 were The Big Sick and Three Billboards Outside Ebbing, Missouri.


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Things You Should Know About Plumbing

Plumbing needs to be done correctly! It can create more trouble and expense should it be not done efficiently! Not every person is a plumber. When you are not as much as the work, hire it! When you can do-it-yourself, which is great! You will require the correct tools and recognize how. Read this article for some handy suggestions! Buckeye 85326

On very cold winter nights, allow your faucets to trickle slightly, especially when your pipes are placed in a crawlspace. The flowing water prevents the pipes from freezing as fast as they would otherwise. You can catch water and then use it for other household needs to prevent wasting it.

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If water is flooding your own home, immediately switch off the key electrical power. If water enters into connection with any electrical components, it could become a fatal situation. As soon as the power is off, then take care of the flood water. Put your personal plus your family's personal safety first, and show each family member the best way to turn off the strength.

Water Bill

Make certain that everyone in your household understands how to turn off the primary water supply, or understands how to contact someone who can. In the case of a burst pipe or any other water-related emergency, you ought to immediately turn off water to avoid flooding, structural damage, and a sky-high water bill.

Water Bill

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Conduct a routine check around your house every month on every single faucet to make sure there are no signs of leaks or drips. After a while, leaks may add lots of money to your water bill and will worsen unless you keep up with the problem.

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Examining The Cursillo / Tres Dias Method – Brian Janssen

Examining The Cursillo / Tres Dias Method – Brian Janssen

Over 20 years ago Christian Renewal published a review of the Cursillo movement (pronounced cur-SEE-yoh), a Roman Catholic, revivalistic technique which originated in Spain in the 1940s.  At the time it was being embraced by a few Reformed (largely RCA and a few CRC) churches.  In the two decades that followed, this movement has grown both in popularity and controversy.The centerpiece of this movement is an emotionally-exhausting, cloistered weekend culminating in an induction into the “Cursillo community.”  I became interested when some of our church members in Northwest Iowa attended, were forbidden to reveal what took place, and then proceeded to tell me anyhow.  This resulted in several years of research and a book:  Cursillo:  Little Courses in Catharsis.  In this and the next few issues, I will offer an updated review of Cursillo which has become an international movement with branches in every major Christian denomination.  A Canadian Cursillo website, cursillos.ca, notes that the Cursillo movement has spread to more than 60 countries.  It offers links to 1,550 Cursillo-related websites and to 81 separate Catholic and Protestant movements based on the Cursillo.  In this brief series, I will examine Cursillo in terms of theology, methodology, and results.

Some previous critiques of the Cursillo method have focused on the theology of the movement.  While biblical truth is always of utmost concern, the fact is that theology is the least important component of the Cursillo method.  This is evidenced by two facts.  First, leading proponents of the movement will admit that participants most likely will not hear anything they had not heard before or learn anything new, so the content cannot be the determining factor.  The other reason is because the Cursillo method is so readily transferable between different doctrinal perspectives, i.e. Roman Catholic, Lutheran, Methodist, Baptist, or Presbyterian (even decidedly non-Christian groups use similar methods and regularly achieve the same results).  Rather, the main concern for the Cursillo is that the theological or philosophical content taught during the weekend must be dramatic and emotional, dealing with deep themes of guilt, shame, rejection, disappointment, and so forth in order to achieve the disturbing effects.

It is more helpful to examine the unstated theological assumptions behind the movement which make it possible, even seemingly desirable.  The Cursillo is clearly a form of revivalism based on a semi-Pelagian perspective of sin and the need for grace.  From the Cursillo viewpoint, people are not dead sinners incapable of responding to God without the prior working of the Holy Spirit through the ordinary means of grace such as preaching and prayer.  Rather, men and women are capable of being persuaded one way or the other, for grace or against it; and Christ’s servants must use the most persuasive means at their disposal.  No one would deny that the Cursillo method is powerfully “persuasive.”

Two quotations demonstrate this semi-Pelagian perspective, one from the Roman Catholic founder of Cursillo, Eduardo Bonnin, and the other from an early Reformed (RCA) leader, Rev. Roderick Jackson.Eduardo Bonnin, a Spanish psychologist, notes that the Cursillo method was devised so that initiates could “live in truth and by the truth in surroundings that are most conducive to deep penetration of the soul by this truth.”  This was necessary because “everyone knows that words penetrate effectively only when the doors of our souls are open to them and these doors are opened only under favorable circumstances” (The How and the Why [Dallas:  National Ultreya Publications, 1981], p. 34).  If by “favorable circumstances” Dr. Bonnin simply meant a quiet place to reflect, this would be innocuous enough.  But these “circumstances” are in fact an overwhelming series of powerful, psycho-social techniques which attempt to “open the doors of our souls” by coercion.

Pastor Roderick Jackson wrote a 43-page Handbook for Leaders in the Cursillo Movement for the Reformed Church in America (available from the library of Sioux Falls Seminary).  In his Handbook he sees no doctrinal conflicts between the Roman Catholic Cursillo and the reformed tradition.

The writer believes, after 11 years of working in the Cursillo movement, studying the literature it has produced, and studying the scriptures and theological documents of the Reformed Church, that there is nothing basically incompatible between the RCA and the Cursillo method (p. 9).

What’s surprising is that Jackson inadvertently exposes his affirmation of Roman Catholic theology as opposed to the reformed theology he professes.  He declares that in the spiritually declining final decades of the 20th century, “The church must awaken a hunger for God, rather than presume there is a hunger which doesn’t exist” (p. 6).

Of course the Bible declares that unbelievers are not simply asleep and in need of awakening, but dead in their sins (Eph. 2:1-3).  They are not merely disinterested in God, but actively hostile toward him (Romans 8:7) and do not seek after him (Romans 3:11).  Reformed churches have never presumed that people were naturally hungry for God and have never believed that the church could “awaken a hunger for God.”  But this tenet is foundational for the Cursillo movement, and the Cursillo method stands ready to accomplish what God declares the church cannot do.

Everything that is humanly possible, from the best insights of psychology, pedagogy and group dynamics to the clearest understanding of Scripture is put together in an orderly sequence to achieve the aims of the Cursillo (Jackson, p. 10).

The Cursillo movement rests on a faulty foundation: unbiblical assumptions which Reformed churches have consistently and unanimously condemned, and Reformed Christians would be wise to repudiate and flee from it.

But there are more problems with the Cursillo method.  Next time we will look at the powerful psycho-social techniques employed during the Cursillo initiation weekend.  For more information or to order the book, Cursillo:  Little Courses in Catharsis, visit the website questioningcursillo.com.

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shop: Porter Cable Compressor & Brad Nailer

Review: Porter Cable Compressor & Brad Nailer
Saturday July 12th, 2003

There it sat.

It arrived at 9:00am. The UPS guy usually shows up mid-afternoon....why so early today? At first, resistance was not difficult. I just tried not to think about it.

But the PC was not about to loose this battle. I could hear it calling me...tempting...teasing.

My concentration waivered, but I managed to remain productive for most of the morning.

Things got much more difficult after lunch, when some coworkers arrived at the office after an off-site morning meeting. I could hear them talking about it down the hall. I suspect they were fondling the box, as well.

One particularly helpful coworker pointed out that I would be very disappointed if I got home and found that the combo pack did not come with any brads. He recommended that I open up the box and check.

Another coworker seemed downright suprised when I argued that the boss would definitely NOT consider ANY part of the spare desk to be scrap wood. And, yes, the people in the office below would probably complain about the noise of the compressor.

Well, I made it through the day with the box unopened. Minutes before leaving the office, I opened the box to find that it does include 1000 brads. Good...one less stop to delay arrival in the workshop :)  Once there, the evaulation can begin!

As you read this review, please keep in mind that I have no prior experience with air-driven nail guns or air compressors. My view of nail guns is colored by two things:
  1. watching Norm Abrams shoot brads on every piece he builds
  2. the electric brad-nailer shown at the right...which will barely sink a 1/2" brad in pine (don't bother with oak)

This is the kit being reviewed.  I recently came into possesion of this tool set compliments of The Spalted Board. Visit the site to find out how you can win!

Porter Cable CFBN 125A 18 GA. Brad Nailer and 2HP, 6 Gallon Pancake Air Compressor Combo Pack

Setup is pretty straigthforward and well described in the manual. The compressor requires a 15-minute break-in period - which provides plenty of time to thoroughly read the manual for both the compressor and the nailer. A good idea if, like me, you have never owned or used either of these machines. The break-in requirement is labeled in at least 3 places...including the power cord. Hard for anyone to miss.

However, even before the break-in could begin, I ran into my biggest complaint with this tool...the power switch is very poorly labeled (see the picture below).  Porter Cable, if you are listening, would a label be so expensive?

The switch is labeled with stamped lettering on the housing, which has since been painted over. Can you tell what it says?

Believe it or not, it's even harder to read without the glare of the camera flash.

After the break-in (which is best suffered with hearing protection), it's time to hook everything up. It is here that my second complaint arises. There are absolutely no instructions on how to hookup the hose and two quick-release adapters. That is fine if you have ever used a compressor before. But not for a beginner...and I would assume that many purchasers of a combination nail gun and compressor package will be first-time users. Granted, it's not that hard to figure out...but what about this roll of white plastic tape (teflon tape)? Having done some plumbing work, I'll assume it is meant to seal the threads on the fittings...but how much? Once around? Twice? A few words of instruction here would have made me feel much better.

Ok, now on to the good stuff!

With a hose attached to the compressor and the nail gun, I closed the relief valve and turned the compressor back on. While the tank is filling, I need to adjust the pressure regulator to the correct pressure for the gun. It is rated for 70-120psi, so I will split the difference: 95. The regulator is adjusted by turning the black knob under the right pressure guage.  There are two guages - one for the tank pressure and one for the pressure coming out of the regulator (the pressure to the tool).

Here's the nailer. Besides the convenient carry case, it included 1 1/4"  brads (1000), oil and two allen wrenches. The manual makes no mention of what the wrenches should be used for...but most of the gun is assembled with matching bolts...so I guess they are for dissassembly.

The instructions recommend oiling the gun with each use if you don't have an automatic oiler installed on the line. The recommendation is 2-3 drops of oil in the air hose connection prior to use.

Note the red trigger. There is also a black trigger available from PC that allows one to hold the trigger and touch end of the gun serves to the workpiece to fire a nail. I guess this would be for rapid use. This rapid-fire trigger is available at no extra cost.

The gun has a couple of adjustments to note:
  • The air discharge is on the top of the gun and can be adjusted 360°.
  • The drive-depth adjustment is under the trigger (as noted by the red arrow on the picture).
The brads are very easily loaded into the gun - flipping a lever at the back of the gun releases a slide that opens the side of the gun. Slip in some brads and slide the side back into position. Everything is now ready. I grab some oak scraps, position the gun and pull the trigger. Bang! Woohoo that is fun!

The brads that came with the gun are 1 1/4". The gun can handle brads up to 2" in length. There is no problem driving all 1 1/4" of the brad into oak.  In fact, when adjusted for maximum depth, the brads are driven about 1/16" below the surface. When adjusted for mininmum depth, it leaves the brad protruding about 1/8" above the surface.

Since the compressor is rather loud, I was curious how often it would run when I'm in the shop. After letting the compressor fill the tank to its 150psi capacity, I nailed a board continuously until the compressor cycled again. In 2 tests, I averaged 45 nails between compressor cycles. Incidentally, this experiment made me much more comfortable with the feel of the gun - I recommend all beginners try a similar exercise.

This kit is a great way to get started with air tools. The gun seems to have pleny of power for small assembly and finish-nailing tasks. It includes everything needed to get started (the gun comes in it's own case to keep it safe and clean). I'm sure it will become an integral part of my workshop. I can already think of a half-dozen other tasks that will be easier with compressed air available.


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NCAA Basketball
Scoreboard | Standings | Teams | Leaders | Polls
West Regional - Round 3
Final 1 2 Tot
28 35 63
28 36 64
7:13 PM PT8:13 PM MT9:13 PM CT10:13 PM ET2:13 PM GMT10:13 PM 北京时间7:13 PM MST9:13 PM EST, Mar 17, 2018
Intrust Bank Arena, Wichita, Kansas  Attendance: 14,385

Poole's buzzer-beater sends Michigan past Houston 64-63

(AP Photo/Orlin Wagner)

AP Sports Writer

WICHITA, Kan. (AP) The unflappable freshman with swag to spare let loose a long 3-pointer just as the buzzer sounded, watched it splash through the net and took off on a dead sprint around the arena.

"I saw everybody celebrating," Michigan's Jordan Poole said later, "and I always thought if I hit a shot like that, I didn't want to get tackled. So I tried to avoid everybody."

He finally gave up, allowing the sweetest of parties to truly begin.

Poole's buzzer-beater, which came after Houston squandered a chance to lock up a spot in the Midwest Region semifinals, lifted the third-seeded Wolverines to a 64-63 victory Saturday night - and left longtime coach John Beilein struggling to find the right words.

Dramatic? That's a good place to start.

"I'm just trying to appreciate the moment of what just happened," Beilein said. "When he makes that shot, I'm making sure the shot got off. I'm managing my team. I can't even look at the celebration."

"We did not play well, and credit Houston for that," he said. "Sometimes you feel, well, geez, why did we win? But I've been on the other end of those many, many times. We got a fortunate break."

That came when Devin Davis had a chance to seal the win, and the Cougars' gritty forward missed a pair of foul shots with 3.6 seconds left. The Wolverines (30-7) called their final play, and Muhammad-Ali Abdur-Rahkman found Poole on the wing.

The youngster's shot hit nothing but net.

"Sports is a great metaphor for life sometimes. It's not always fair," Houston coach Kelvin Sampson said. "I thought our team deserved to win that game. For 39 minutes, 57 seconds, I thought we were the better team. Credit their kid for hitting a big shot. It was a big, big shot he hit."

Abdur-Rahkman and Moe Wagner scored 12 points apiece to lead Michigan, but it was the unheralded freshman who stole the show. Poole's flair for the dramatic earned his team a trip to Los Angeles for a West Regional semifinal against North Carolina or Texas A&M next week.

Rob Gray scored 23 points and Davis finished with 17 for the sixth-seeded Cougars (27-8), who were trying to reach their first Sweet 16 since the last of the Phi Slama Jama teams in 1984.

They just about did it.

Davis gave the Cougars the lead when he made two free throws with 44.1 seconds left, then pushed the advantage to 63-61 when he made the second of two more foul shots with 24.9 seconds to go.

Abdur-Rahkman and Charles Matthews came up empty at the other end for Michigan. Davis pulled down a crucial rebound, and then stalked to the foul line.

The senior forward missed both.

"It's hard to put into words," Gray said. "I felt like we had the game won."

The down-to-the-wire outcome was hardly surprising given the way the rest of the game went. There were 17 lead changes and 12 ties, including 28-all at halftime.

After his huge performance against San Diego State, the Wolverines were wary of Gray every time he touched the ball. They blanketed Houston's star on the perimeter, cut off lanes to the basket and held him to just eight points on 2-for-11 shooting in the first half.

Whistles became constant as the second half wore on, and both teams soon found themselves in foul trouble. Wagner picked up his fourth with 8:43 to go, and Breaon Brady soon took a seat with his fourth for Houston, as the game turned into a glorified free-throw shooting contest.

Michigan converted eight straight at one point to take a 57-53 lead with 3:42 to go.

Armoni Brooks answered with a 3-pointer, and Davis converted a three-point play after fouling the Wolverines' Duncan Robinson out with 2:06 left, giving the Cougars a 60-59 lead.

Wagner answered with a putback basket for Michigan with 1:41 left, but after the teams swapped 3-point misses, Davis grabbed a crucial rebound and made two foul shots to give Houston the lead.

His night would have been a whole lot better if the game ended there.

"It's March Madness. It's bigger than basketball," Gray said. "Those guys in the locker room, I'm super proud of them. I'm just glad we had this opportunity to come play in March."

Michigan is headed to its fourth Sweet 16 in six years. ... Gray wound up averaging 31 points in two NCAA Tournament games. ... The teams combined for 41 fouls, resulting in 42 free throws.

Houston showed remarkable poise down the stretch, led by a pair of seniors and three juniors in its starting lineup. But the cracks showed when Davis went to the foul line with a chance to ice it.

Michigan won its 11th straight game in the most dramatic of fashions, even without its top players at their best. Abdur-Rahkman finished 4 of 15 from the field and Matthews was 5 for 12.

Michigan heads to the West Region semifinals in Los Angeles, where they will face the winner of Sunday's game between the second-seeded Tar Heels and No. 7 seed Aggies.

More AP college basketball: ; and

Updated March 18, 2018

Sports Data API Powered by STATS © 2018 by STATS.
Any commercial use or distribution without the express written consent of STATS is strictly prohibited.


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Reviews elsewhere on the web:
American Scientist

Enrico Coen

The Art of Genes

When you start to think about how an organism develops from a single cell you realise that it isn't as straightforward as it may seem. It isn't like creating an object from a blueprint, but the question is what is it like? In The Art of Genes: How Organisms Make Themselves Enrico Coen uses the metaphor of artistic creativity to describe the process of development.

Coen starts by introducing the idea of hidden colours - a code which determines how different parts of an organism start off the same but develop differently, for instance the different parts of a flower, or the segments of an insect. He explains how this is achieved via master proteins which can switch certain characteristics on or off. He then shows how diffusion of a chemical can lead a concentration gradient, and so a distinction between different parts of the organism. Later chapters of the book look at the place of symmetry in the development process.

The book has plenty of pictures - both diagrams of the organisms in question and works of art used to explain the artistic metaphor. This metaphor does get a bit far-fetched at times - for instance numerous artists on an expanding canvas - but I felt that it was generally a useful one, and leads well into a discussion of why development should be thought of as a creative process, rather than a predetermined path. However if you are knowledgeable in the subject then you will probably find the book rather slow going - I think it is more aimed at those looking for a gentle introduction to the role of genes in development.

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Paperback 400 pages
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Published: 2000 Oxford University Press, USA
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Paperback 396 pages
ISBN: 0192862081
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Published: 2000 Oxford Paperbacks
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Product Description

Over the past twenty years there has been a revolution in biology--for the first time scientists have been able to unravel the details of how organisms make themselves. The mechanisms by which a fertilized egg develops into an adult can now be grasped in a way that was unimaginable a few decades ago. The Art of Genes is the first account of these exciting new findings, and of their broader significance in how we view ourselves.
Through a highly original synthesis of sciece and art, Enrico Coen vividly describes this revolution in our understanding of how plants and animals develop. Drawing on a wide range of material--from flowers growing petals instead of sex organs, and flies that develop an extra pair of wings, to works of art by Leonardo and Magritte--he explains in lively accessible prose the meaning of genes. Coen draws parallels between the way genes respond to the developing pattern of an organism and the way an artist responds to a painting being created on canvas, a memorable analogy that shows how the organism develops through an interactive dialogue in which there is no separation between plan and execution.
There have been many attempts to resolve the paradox of how organisms make themselves. Lucid, authoritative, and entertaining, The Art of Genes offers fresh and exciting insights into the nature of evolution, development, and human creativity.


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    City of Ocean Springs

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These are used to approve, deny, receive and file or table items submitted for Council consideration.

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Spider Pest Control in the Sherman Oaks, California Area

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  • Year: 1991
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  • Interior color: Black
  • Vehicle Title: Clear

1991 Austin Healey 3000 BN-7 Description

1967 Austin Healey 3000 replica with 1,630 miles built by Classic Roadsters in an exact replication of the original - take a look, This is the Saxon model and you can't tell the difference. Ford V-6, automatic,Colorado Red, black leather interior, wire wheels with flawless fit and finish.
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Used Kawasaki ESX 100 - Sargodha

  • Country: Pakistan
  • City: Sargodha
  • Year: 1984
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  • Posted on: June 27, 2014
  • Price: Rs.60000
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Riding at Bubba Stewart’s!

First off I’d like to thank the Stewart’s for letting me come ride at their place before Daytona sx! I drove there arriving Wednesday a lil after noon. I rode for the next three days strait dialing in my bike. We got the bike really comfortable. Only need to make one change to the shock and were dialed! Here’s a vid my wife Cortni Miller filmed for me. Love you baby thanks! And ol Fulton helped me with practice, races, and driving! Thanks bud.


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Christmas Charity Fun Run

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This will be the 22nd Annual Christmas Charity Fun Run. Last year we raised $3,000 and this year we would like to raise even more. Come out to help our community and have a fun ride!  All of the proceeds will benefit local charities such as the Lake Family Resource Center and the Lake County Senior Centers. Lake Family Resource Center supports Lake County to achieve safe, sustainable, and healthy families and communities. Their mission is to strengthen the community one family at a time. The run will start and end at Robinson Rancheria Resort.

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Why do blog entries have titles?

Why do the developers of MovableType give me the Title field? My entries are usually about my life, from some aspect or another. Today’s entry was sort of planned, but has not a central theme to use for the title. GITI’s Journal utility, which is used for my personal journal (sorry to burst anyone’s bubble, but I dont put my deepest thoughts in my blog), uses only dates to file entries.
I was informed this morning that my father will be working nights this week. I was initially agitated by the news because it usually means more interaction between me and him is required. I realized something though, for most of the week I will be leaving while he is still in bed and then when I come home he will be gone at least until I am in bed. Friday I will be arriving a few minutes after he leaves and have the house to myself for several hours. This should actually be a very calm and peaceful week if all plans are followed correctly.
In my technological world some unexpected (but controlled) shake ups are occuring. I have decided that GITI has a great deal of functional completeness and at this point doesn’t really any more code to be stable and functional, because of this I will be focusing on creating a new interface for GITI. Background code will likely remain the same, but the front end will change drasticly, starting with the implementation of CSS. As of 3:45PM this afternoon GITI version 1.0, front end, back end, and database were stored to a backup directory. This is in anticipation of the pending changes to GITI as a whole. It is unlikely that I will do a complete rollback of GITI, but depending on what I do to it, it may be required that both a development and stable version run at the same time. I remember a time in my life (August 2003) when GITI wasn’t required and was just a development project for me to work on. Now I rely on GITI for my daily functioning, especially in an academic sense. For GITI’s new interface I plan to make it smoother, less framed and somehow not square. I used to pride myself on the fact that any HTTP 1.1 compatible browser could read GITI and interpret it correctly. This was a nice little fantasy, but sometimes technology needs to grow up and developers need to work with what is availible to them. At this point my standard will be verifying that IE and FireFox both can work with GITI correctly. I use FireFox at home because I like it and IE in campus labs, because I have to. This project should be a nice little adventure for me to take on.

One thought on “Why do blog entries have titles?

  1. Curtis, I can’t wait for you to realize you’re an author so you can weave the tale of your life. Entertaining and inspiring, I’m moved by your dynamic and changing world, and feel like even though we haven’t seen one another in three months I know more about you now than ever. Keep up the good writing.

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Internet Draft Submission Changes

It has finally happened, the IETF is relieving the IESG Secretariat of one of her most recognized roles, the proccessing of new Internet Draft Documents. Very soon there will be an automated procedure for submitting new Internet Draft Documents to the IETF/IESG. For many years the standing procedure has been that an Internet Draft Document author would prepare their drafts and email them to the IESG Secretariat to make them publicly availible to the Internet as a whole, the first milestone on the road to becoming an RFC. The human element is very important to the heritage of the I-D system. Without human hands guiding these documents to their destination it is possible that a document will be submitted and no one will ever see it as it simply becomes part of the larger public repository. There is a level of anticipation that will no longer be present, as each draft is availible instantly. Years ago it was exciting to me to submit my I-D to the IESG a few weeks before an IETF meeting, watching and waiting for my document to appear with everyone elses in the list of new drafts to be considered.
The IESG secretariat will still recieve documents that have been determined to have errors, most documents will make their way to the draft repositories without ever beeing met by human eyes.
Announced in: RFC 4228


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