Introduction to Suminagashi

I seem to be a bit past the point of ultra-excitement over this, but a couple of days ago in drawing class, we undertook the creation of a number of prints using the technique, suminagashi.  This is basically a really, really old Japanese marbling technique, which we undertook with modern materials.

The reason I didn’t post about it then is that it seems there is some knowledge that isn’t widely known, to doing this properly.  Today I got permission to post about this online — I wasn’t sure if it was a trade secret or not, but apparently it’s OK to share.

We used a surfactant known as Sumifactant to add blank spaces within the suminagashi images.  Basically what happens is that you have two clean brushes, a drop or so of Sumifactant on a palette, and a drop or so of each color of suminagashi ink.  We used the Boku-Undo brand of Japanese marbling inks, which are nontoxic.

Any toxicity concerts about the Sumifactant?  Possibly.  There is no listing of ingredients and the material itself is fairly rare; I wasn’t able on a quick search to find an MSDS.  I tried to push through my cleanliness disorder to put my hands in the water.  😉  What I can say is that the inks on one’s hands clean up easily with soap and water, and I experienced no irritation greater than that which I normally experience.

What happens is one gets a vat of water which is somewhere between 1″ and 2″ deep — I found the deeper water to work better for me; it made more fluid images.  One brush is a Sumifactant brush; the other is an ink brush.  Dip one brush in the Sumifactant and touch it to the water’s surface; then take the other brush, dip it in ink, and touch it to the water’s surface, somewhere within the initial Sumifactant circle.  Alternate Sumifactant and inks.

After a number of concentric circles have been made, blow the water or drag a paintbrush handle through the water to mix up the pattern of ink on the surface.  Take an absorbent piece of paper — I found Strathmore Bristol (vellum and smooth) and Watercolor papers to work very well — and lay it on top of the inks.  Pull the paper back up, and there you have your print.

I didn’t do this part in class, but I sometimes found there was extra ink that had not soaked into the paper — I’ve seen online that this excess can be rinsed off.  Then the pieces can be laid out to dry — I found a backing of newspaper helped this process, by allowing for air flow.


1) I found it particularly nice to mix colors with the ink brush before touching it to the water’s surface again, taking my lead from a program on Japanese flower painting which aired on NHK World (the artists would mix each color individually before applying the paint to the paper, which gave a very “lively” appearance to the paintings).  However, I also got some very pale lilacs when mixing red and blue, which causes me to think that maybe I was mixing my Sumifactant and ink brushes up.  I caught myself doing this at least three separate times, so I find it likely that I did it more often than I thought.

2) The paper needs to be smaller than the vat of water.  This basically meant for us that each paper had to be half-size or smaller — we used disposable aluminum roasting pans as our vats.

3) It’s okay to take some time between laying down the color and laying the paper on the water’s surface, but I found that for my process it was better to lay down the color, cut the paper and let the color move around a little bit, then drag the paintbrush handle through the water, then lay the paper on top.  If too much time passed between swirling the color and printing, I found I missed the “sweet spot” of swirls where they still aren’t too complicated, and still have a good color concentration.

4) The concentration of hue or value in the finished prints very much depends on the absorbency of the paper one is using.  For the most striking results, I found a clean vat and black ink with white paper worked best, however, as I said above, there are also some very interesting results one can get from mixing colors as one goes.  If one uses paper with a good degree of sizing in it, the prints will be more pastel.  More absorbent paper will obtain a deeper color, though obviously some colors, like yellow or orange, will appear lighter because of their “values” — closer to white than to black.

5) When using inks which weren’t black, it was extremely difficult to see the ink floating in the water.  However, they showed up clearly in the prints.  Why?  How?  I’m not sure, but I suspect it is because the inks are transparent, and the reflection from the bottom of the bin was greater than the light reflected off of the water’s surface itself.

6) The very last bit is the fact that a print can be sandwiched between two pieces of paper and ironed on a “Low” iron setting to flatten it out.  However, I can’t be responsible for any unexpected fumes or fires that may eventuate from doing this, in the same way that I can’t be responsible for any toxicity that arises from using the Sumifactant.

Whoo.  I think that’s about it!  I found doing this exercise to be very freeing for me, because I normally work in a relatively tight style.  Suminagashi practically demands that one let go of control over the finished product; because the motion of the water itself is uncontrollable.  I’m thinking of uploading an image of one of my prints for a header here.  🙂


Mystic ruminations emerging from a general update–

One more half-day of work and then the school cycle starts again.  I’m most of the way through Chapter 3 in my Communications book, but I’ll still need to read Chapter 12 before the week is out.

The Union of Opposites picture I began last Thursday still hasn’t been worked on; that’s mostly because I wanted to make it in color and then realized that I’d have to pick out a color scheme.  I’d also wanted to color it using colored pencils…of which I have a sometimes-frustrating, sometimes-delighting variety.  The thing with those, though, too, is that they are essentially permanent.  There is no erasing a colored pencil mark clean.

I have a hard time with finishing drawings, because I am fairly consistently concerned that I’m going to mess it up at some point.  However, there is something that my teacher said last class:  that she is a firm believer that if you made it once, you can make it again and make it better.  This is comforting.

One of the things which I’ve been really somewhat mystified at is the phenomena of seeing the lines and marks before drawing them, so that the act of drawing itself is simply tracing over what was in your thoughts.  Kind of like I can put down a “ghost overlay” and then just move my hand over the places my mind tells it to go.  For me, drawing is kind of intuitive like this, and I guess that of course if that’s where your mind is, and you don’t know where the images are coming from, or why what appears where, it could be kind of freaky.

I find myself wanting to write more on the spirituality angle, but to be honest, it is still really kind of sensitive territory for me.  I’m thinking of writing it into a story of some sort (or more appropriately, the information could work as foundation of a number of stories), but I don’t want to start writing about my philosophy first, with the story coming in at a distant second.  I have heard of this happening; I have tried never to see it in action.

What is apparent is that I’m going to want to start writing offline again, because there are some aspects of the process of building a story that really aren’t suitable for public consumption.

And then I go, “wait, you mean I can do more with my computer than go online?”  Why yes angel cakes, yes you can.

I recently picked up a book on channeling.  I am always iffy on picking up books on metaphysics now, because when I get back into an atheistic/heavy questioning mode, I start feeling like all the time spent on studying this stuff has been worthless.  I went through a kind of disillusionment like that pretty hardcore with Buddhism.  But that’s basically because I question — if not all of Buddhism, pretty much the foundations I’d need to hold the religion up.

Karma; the life of Shakaymuni; the vinaya; the issue of “sentience”; the issue of sexism in institutionalized Buddhism…I just seem to have pushed beyond this point.  Initially it helped, but then I seem to have moved beyond the point at which the upaya made sense.  Which…well, that’s to be expected, isn’t it?  But I really can’t call myself a Buddhist at this point.

Regarding the subject of “channeling,” though…  I haven’t read into the book very deeply, but…it seems like I already have experience with this.  It does in effect seem like I’m pretty confused as to what has happened with me, and who is who when it comes to spirits.  I suppose, as with humans, I tell who is who not by physical characteristics but by patterns of behavior.

Anyhow…the main issue I’m having with that channeling book…there were two, but either I forgot one or writing out the below helped dissolve the second one:

It tells one to make sure only to contact beings “of the Light”, which is something I’ve not ever really adhered to — this is because of negative experiences with people posing as though they are “of the Light” while preaching hate (particularly various sorts of Christians).  (added by my spirit guide after the rest of this:  I’m being told to disrecognize these people as of the Light and to embrace the true Light within me.)

I have seen some things happen with others I’ve known online and IRL when they broke the rule having to do with contacting the Light types only…nothing really pretty.  This ranges from unexpected and unnecessary deaths to psychic distress to astral dismemberment.

However, I haven’t really known what was supposed to be symbolized by “the Light”, and as such I haven’t been certain the information is aimed at me.  Of course, this could be kind of like a different time when I didn’t think a warning was aimed at me and I ended up with stitches in my chin.

I suppose I can contact the spirits I already know — the ones who I know are good, at least — and ask what is meant by this.  Of course, though, then I’d have to sync up with them to get the information, and you’re not supposed to do that with beings who aren’t of “the Light.”

As it is, I know I’m part of a group; I know that group is beneficial and not-hostile to me as things stand now.  I just don’t know who is who, how many there are, what their origins are, how they’re connected to me, or what they’re working towards.  It seems fairly evident that there is an agenda (say, survival of the human species and life on Earth, ending hate, etc.), or why loop me into it as a maker?

Though from the feeling I’m getting from one in particular, right now, I’m getting the sense that the conflict is moot because they are of “the Light.”  I’m also getting the feeling that, although I have explored, in depth, the question of what a demon actually is, the truth is that a demon is someone who tests people, and meaningless pain and violence — inflicted by the test subject — is the result when the person fails.  So there is a polarity, but good and evil are not what they say they are.  (I have historically not used the term “evil”, so this is probably not my own thought, but hers.)

I suppose it would make sense that, given that the book is aimed at those who aren’t already channeling — given that what they refer to as “channeling” actually is channeling and not something else — as they’re meaning to keep readers safe, this could be why the “of Light” specification is given.  Given what I know, I’m fairly certain there are different clusters of spirits worldwide with their own internal cultures; maybe just the “Light” ones are personally known to be “safe” to the writers.

But again — I’m getting a really reassuring feeling from one of my spirits, that I don’t need to worry about this, at least with her; and as she works with the others, they are likely to be safe too.

She seems to also be telling me, though, that the reading I got from an online friend was wrong, and that I shouldn’t confuse present-day guides with common yurei, or human ghosts.  The first overt contact I recognized as possibly a ghost (as I did not puppet him) might also well have lied about being a ghost — I was 11 and probably would not have understood much.  As I got older I came to see ghosts as energetic echoes across time and space of traumatic events…not beings with internal sources of action, in specific.

Maybe it will be good to read that book.

And… I’m being told to get some rest.  More work, tomorrow.  Don’t want to yell at someone.  😉

Good night, all.

Technical Writing + Art + Business?

So.  Now that I’ve got the formatting correct, let’s see what I’m able to do with this list I came up with the other night.  I found a misstep here which I can correct below:

  1. Multimedia Arts (Web Design & Production)
  2. Writing (Technical Writing)
  3. Art (to feed into Web Design & Production and Technical Writing)
  4. Business (to feed into Web Design & Production and Technical Writing)

Both Art and Business can feed into either Technical Writing or Web Design & Production.  Therefore, I’ll likely want to continue with both Art and Business.

I have little to no experience with Web Design & Production, but a good amount of experience in Writing.  Now would seem to be the time when I try and imagine what I could do with a focus on Writing, Art, and Business.

Graphic Design
Internal Communications
Newsletters (desktop publishing [as I’ve thought of for my Bead Society]; InDesign or QuarkXPress, though from a quick glance, ArsTechnica says InDesign is more useful)
Instruction manuals ;P
Sales papers
Human Resources
Health pamphlets
Identification guides (like the ones I have for dragonflies, birds, etc.)
Publishing (layout, graphic design, writing, editing)
Scriptwriting (radio scripting, film scripting, etc.)
Mass media (newspapers, online news outlets, magazines, etc.)

According to a website I just visited (New England College Online), technical experience such as that which I might gain through taking multimedia (or, I infer, computer information systems) classes could be valuable in helping me understand the technical language which I’d be working on translating into understandable English.  This is if I go the technical writer route and work on manuals for, say, new cell phones or cameras or printers and such.  I do seem to have the required background.

This…is a lot to take in.  I do think that I’d like to go the Writing route, as I know I can do it and do it well.  Plus, I have no experience with Web Programming — however, I can see myself running a blog like this for a major company, and learning PHP.  That shouldn’t be a problem.  If I were going to go the route of desktop publishing or layout, though…that could be interesting, and could lead me back to Graphic Arts classes to learn InDesign.  I really loved my Graphic Arts class, but I was told I could do much more.

However, if I did go this route, it would enhance skills I’d need to pursue the writing and production of a Graphic Novel.  Layout doesn’t seem…all that unfamiliar to me.

Hmm.  Got to go for now, but this has been interesting.

*sighs* just one more day at ye olde library…

Alright!  Back from work and one matcha frozen yogurt richer.  😉

I really need to watch it where it comes to overworking myself.  I didn’t take my second break early enough, and ended up getting dizzy from lack of food and water around the last hour.  However, I have found that about 2 PM is a good time for lunch — five hours straight with a break around hour 3 is doable for me.  It’s just that then I’ve got to cram in that second break sometime in hour 7.

I don’t like feeling like I’m lazy.  I know I’m not lazy, but taking a break after about an hour of shelving?  It seems too easy.

Today, I chose to work on shelving the kids’ picture books because I was sure it would take me about an hour — which it did; actually, slightly less than an hour — since that cart is basically packed with a bit more than twice the amount of books as at my regular branch.  (I was feeling sorry for the volunteer who was trying to avoid the section at any cost.)  At my home branch, that cart takes about 20 minutes.

I found out why the volunteer was trying to avoid the area — it was really pretty messed up.  Like Dr. Seuss books with the same call number in three separate places, messed up.  But I’ve been doing this for a few years, and if anyone was going to fix it, it was probably good it was me.  Of course, maybe I was being too attentive to what was and was not in order.  Sometimes speed has to be prioritized over accuracy, but as it was, this was the only cart ready to shelve (which the volunteer was trying her hardest to avoid).  But what can I say?  I’m glad they come at all.

Even though I did find a number of sections in the YA area which had books plugged into them in no relevant order whatsoever (I forgot to mention this to my boss).  And even fixing all of that — that which I directly came across, that is; I’m sure there’s more — took me a bit less than half an hour.  So I’m doing good.  Rule of thumb is one cart every 20 minutes or less, with none taking over 30 minutes.  But that’s at my home branch, which is kept in a much higher state of order, where the carts are made to be shelved in less than half an hour, and where we’re basically almost timed.

I guess, at least I’m feeling competent.  At my second job site, I’m using a more relaxed version of these standards, given that the workflow is a bit different.

I still need to get on the project of beginning a job search, even if it is just for research purposes.  I’m seriously thinking, now, of going to work two days out of the week for about eight hours a day and just leaving it at that.  But I do work Sundays, too, and my supervisor there doesn’t want to see me go.  Sundays are kinda sweet, too — I don’t have to be on desk at all unless there is a severe staff shortage.  This has happened.

If I did work two days at my home branch, though, that’s still only 4 hours on desk, which is relatively easy (depending on who is there) — in the past, 4 hours on desk could have been taken in one day.  And that, my friends, that is not easy.  The only “easy” part of it is knowing that you can only do one thing at a time and just switching between tasks as needed until the hour’s up.  The difficult part of it comes when random people want to chat about things entirely unrelated to work and get in the way of others being able to, say, check things out or pay fines, and get in the way of the person behind the desk being able to concentrate on anything other than said random person.  Who is usually inebriated.

I’m told this is a common malady in public jobs.

And, now I’m thinking that maybe it is a good thing that I decided to go to self-defense training coming up this Fall.  I’m not sure how much extra cash I’ll have — the program is sliding-scale.  I don’t make a lot of money as it is, and I’m losing about 28 hours of paid time in order to attend (think, about $225).  I’d wanted to give them about $60, which is mid-scale.  I’m hoping I’ll have it, then.  And, hey — I’m in a Drawing class, I can draw some more Christmas cards for people this year.  (Only, they’ll be better than last year.)

At the same time, I am really ready, I think, to try on another job.  It doesn’t necessarily mean I’ll have to give up the job I already have, but even having some form of an “out,” and some kind of a different workflow and environment, will be really good for me, I think.  The job I’m in, now, really doesn’t take advantage of my strengths — or my degree — and I’m kind of wanting to see what’s out there.

So, right.  Yes.  I will need to work on my writing portfolio.  As for what else…

…I really hate being forced to work within a capitalist system, but it’s what I’ve got, I guess…and I have approached this from the eye of an entrepreneur, so I suppose I can say that it isn’t all bad…

Not doing too well at keeping up with Drawing homework…

I’ve had other things pressing on my time.

Tonight I think I’ll be working on “Brilliant #6″…I really don’t know if any of us are actually drawing every night to one song.  Earlier this week I’ve had to work with my Communications class and homework — I think it was one quiz, one assignment, one speech, and I have another assignment to knock out before Sunday night.  I think the Internet has made instructors more willing to assign more readings and projects to us, because then we’re not turning in like 3 items plus a quiz on one day.

For Drawing, I’ve had to work on a tesselation, and some gigantic project which was almost too big for the kitchen floor, but I think that’s been about it, other than the “Brilliant” series and the other assignment I got yesterday, which has to do with the relationship between Self and Other.  Mine is “Self” vs. “Generalized Other”, because all I could think of when I heard the prompt was eye teeth.  This may link back to some familial episodes as well, though I hesitate to say that.  My family dynamics are much better now than they used to be — but there was a period of time when they were really not good.

What is happening with Drawing is that I’m finding myself going off on my own tangents.  Like last night I completed a layout on 11″x14″ paper which began as my screwing around with sketches on a paper which was worthless to me.  (The paper had marker bleed-through from the drawing above it.)  That turned into a comic page, which turned into a tracing in Microns using Layout paper, which then got willow charcoal layered on top of it and became a subtractive drawing.  I still haven’t gone back in with charcoal pencil (or ink) to add in concentrated dark values.  Nor have I sealed it, so it’s just accumulating inverse fingerprints and stuff.  Makes it look more like it’s “art,” but still, you know.  Inverse Fingerprints.

Oh, one more thing:  When I was smudging the charcoal, I found out not to clean off my fingers on a part of the drawing I want to erase into, because the oil from one’s fingers plus the charcoal dust will not come up once it’s ground in.  It took me a while to realize what happened.  If I’d filled in the area with fresh charcoal like the rest of the composition, and not (in specific) rubbed my fingers clean on that area, I would have been able to lift the charcoal that was there.  As it is, it’s stained, and if it were a serious composition, I’d have to repair it on the computer by substituting a different panel, or by gluing an opaque panel on top of it for reproduction.

I’m actually thinking of the uses of drawing each panel separately, and individually modifying and assembling them using a graphics program…I just need to keep the scale of each of the panels in mind when drawing them.  The Metric system would help with this, though then I’d likely be printing on A4 — and where am I going to find reasonably-priced A4 paper in this country?

On a different note, I did find out that the Copics will work very well on Marker paper — though I still haven’t tried my AquaBee Pen Sketcher’s Pad, which works great for Microns (and now I find I need to get another Micron 03 as well <*puffs*>…though I guess I have used it).

I have a pad of Borden & Riley Marker paper in 9″x12″, and found out last night that I can use Copics on it and they won’t leave streaks — at least, not any visible to the naked eye.  However, using them on Borden & Riley Layout Paper causes inconsistencies in the finished tone, because of inconsistencies in the opacity and translucency of the paper; the Marker paper is much more uniformly translucent.  It also looks like the absorbency of the Layout paper isn’t ideal for this application — I can see faint streaks, whereas on the Marker paper, there are none.

9″x12″ is just a little too big for my scanner bed, but I can cut it down, or, as said above, import the panels separately and then do the assembly on the computer (though with which program, I’m unsure).  I’m thinking of using Legal-size paper for printouts of final pages, then assembling, trimming and stapling them.  I suppose if I’m going to do all that, why not work in Metric, eh?

I’ve had some experience with layout from playing around with making ‘zines as a kid, though I never really reproduced or published any of them.  They were more like little, really basic comics in mechanical pencil.  I’m not sure if I still have any of them, though I have run across one which may have been a little booklet (? I was 14, it wasn’t that good) and one which was a page in dark graphite, from later in my teens.  The latter was just because I wanted to see what it would look like if I did a graphic novel.  It did look pretty, well, atmospheric.

But to get into that more deeply, gets into my weird teenage writing, from a time where I wasn’t fully aware of what was going on in my mind behind the stories, or what the implications for wider society might be if I actually did publish those thoughts.  For those who don’t know, which would be all of you, it was kind of like an RPG where the demons aren’t evil.

But, dude — RPGs.  Every single RPG I’ve been a member of has made me actually angry at the people I’ve been playing with, because it seems that no one questions the fundamental assumption that one can tell the history, background, inclinations, and morality of a character from their race.  Meaning I’ve been consistently harassed because everyone thought I wanted to be the bad guy because I wasn’t born an elf.

Anyhow, it’s getting pretty late where I’m at, so I should sign off — got to get up early tomorrow.

Finally getting around to writing up what I learned from the Academic Advisor…

A couple of days ago, I went to see an Academic Advisor at my college.  The insights I got out of that experience were many; I’m just hoping I can record the most salient of them, here.

The first point to take care of is to complete the Animation certificate which I am one class away from obtaining.  That class is Beginning Figure Drawing, which…I suppose could be fun?  I really don’t know; what I do know is that it should help me develop my style where it comes to illustrating people.  This, obviously, would help in a Graphic Novel direction!  However, I’d probably have to watch out for that one teacher who “hates anime” in order to save myself some skin.

What I was told most directly is that having a foundation in Art, Multimedia, Technical Writing, and Business would make me well-prepared for a plethora of jobs.  Basically I was told that it’s a “powerful combination.”  There is one class given at the undergraduate level which I know of, which could introduce me to Technical Writing.  I also know of one place I can go which would enable me to obtain a Technical Writing Certificate — it is not a Master’s, as I now know.

There are three other classes which look promising which I have noted down in my Random Thoughts journal, under the date, 9/9/14.  This makes a total of five, so far.

The next step is to do research into what career options are open to me now.  This includes an online job search, and checking the job boards both at my current and past workplaces (which may lead into a job somehow connected to my present line of work — for example, with Project Second Chance) and at the nonprofit community center I’ve been visiting (which could lead into a differently-related job which could help me assist my target population).

There’s a clear need for me to see what jobs need to be done; for example, whether the community center needs publicity or outreach; and whether I can fill that gap with my skill set.  This is all reminding me of that “pain letter” thing that’s been going around LinkedIn, which would also probably be a good place to visit.  I’m hoping that my 2013 version of What Color Is Your Parachute? would be a good starting point to see where I should be looking online.  I mean, yeah, Craigslist, we all know Craigslist, right?  But there are probably more-hidden and higher-quality listings than this.  Like, but obviously that’s a bit out of my range.

The next step after identifying what work needs to be done is to find out what skills are needed to move up in the jobs which are available now.  That will tell me which classes I should be taking, in addition to Beginning Figure Drawing, come Spring and later.

I can also see whether a Certificate in Technical Writing will actually make me more marketable as a Technical Writer, or not so much.  I’ve been told that it isn’t necessarily the case that I’d need a certification.  However — I do know of a program which would let me audit courses with the relevant University to see if I like it before I enter it fully.  It doesn’t look like the Certificate program is very long, though.  Basically, it’s eight classes (and twenty five bazillion dollars, right?  I guess I shouldn’t be cracking on it though — I haven’t checked the fees).

I know I wasn’t totally into this before.  But after browsing the catalog of a University which I know I can make it into, I’m pretty certain that this program is one which I’m more ready to take on (I’m prepared for it) and which sounds more interesting than the rest.  Of course, we live in a capitalist system, so it would seem like everything is about making money — for someone.  I think I’m just lucky that the community center I visit sometimes hasn’t shut down — there were rumors several years ago that it was going to.

So apparently, managing a job search is kind of like being in a class, itself.  😛

There is more I could pull in from my notes, here.  One thing — granted to me by a different counselor — was to begin researching the nonprofits I’d want to work for, and ask about their staffing levels, which jobs were available, whether there were volunteerships, what skills were needed, etc.  I’m not entirely sure what else follows the etc., but I can try and think on it some more.  🙂

I’m told Art is good with writing, especially Technical Writing.

From my own coffer, I need to be mindful of what technologies are becoming obsolete. To me this means, for example, MS Access, which has been around forever (or at least since I was a small child).  I’ve wanted to re-learn how to use it, but it looks like the future is in cloud computing and web-based applications, and moving away from software like MS Office.

I’m still thinking of Web Publishing as a good direction to take this, as most places now have an online presence, and so someone has to manage that.  If I know how to write, how to draw and paint, and how to upload and tweak my images (or produce the data as a digital native), this could turn out cool.  I have taken classes on Digital Imaging, but I’d rather not be stuck as the person who draws everything, you know?  😉  But composing a page is a different ordeal.

I think the point I’d need to be sure of is what qualifies as either open-source or changed-enough-not-to-be-copyright-infringement, if you get my drift.  In that case, Business Law would be a great class to take.  So, there’s a sixth class.  And I would very likely love to be in the Contemporary Color class.  (Colors are either additive [as in projections of light; like a television or computer monitor] or subtractive [as in reflections of light; dyes, paints and such]; I’ve taken a color class in the latter schema, but not the former.)

The last point is that I’ll need somewhere to demonstrate my writing ability — that will likely be via one or more blogs, probably eventually a web presence of my own, and a portfolio (which I just reminded myself I need to work on).  And, what I will be doing over all of this is looking for a job which will let me bring in the greatest number of my skills.

Before signing up for Spring 2015, I’ll want to narrow this constellation down to my top three priorities, and see my Academic Advisor again.  Right now I have four priorities which will likely shift around depending on the results of my research:

1) Multimedia Arts (Web Design & Production)
2) Writing (Technical Writing)
3) Art (to feed into Web Design & Production)
4) Business (to feed into Web Design & Production and Technical Writing)

Phew!  That was a lot of information, wasn’t it?!  At least it’s in a narrative format, now…