Lost in the Winterwood

• You don't have to be a boy if you don't want to
• You don't have to be a girl if you don't want to
• You can be a boy if you want to
• You can be a girl if you want to

Everyone who plays around with Tarot cards long enough winds up with a “bad” card that they love. I just barely persuaded my husband not to get the Ten of Swords tattooed on his body; traditionally, it shows a corpse with ten swords stuck in their body and means “utter ruin,” but he thought that if it took ten swords to kill you, then you must have put up a pretty good fight.

found in “FTM Newsletter”, 1990s

• a lot of the time, the ability for colored ink to bleed will vary wildly WITHIN A SINGLE BRAND OF COLORED INKS. my cobalts bleed like fucking CRAZY compared to my reds, which, when u reference manuscripts that tend to put white ink ON TOP of either red or blue… you see where shit gets real and real annoying. 
• u can buy an aeresol, fully transparent workable sealant for like 5-10 dollars at your local art store. when i realize a piece ive been working on needs a color on TOP of a bleed happy ink, i give it a layer of this stuff. trouble is it CAN warp the paper so its important as soon as it dries to use heavy things (paperweights, books) to counteract the paper curling.
• ink solvent, like koh i noor’s rapido-eeze, is only compatible with SOME inks, but will work on most acrylics. If you happen to be working with sturdy vellum that you have pre-sealed, it can be possible to literally use ink solvent to wipe away your calligraphy mistake like a goddamn bounty commercial

• WD40, found at your local hardware store, will remove Sharpie marker from almost any hard surface. 
•  Acrylic inks will show brush strokes in large areas but are waterproof and quick-drying. 
•  Acrylic gouache is vivid, fluid, dried matte, is UTTERLY opaque on black paper, handles exactly like watercolor, and is waterproof. 
• Putting an oil painting in the sun will turn the yellowed portions back to their original white and wont hurt the painting. 
•  Cheap acrylic paintings will bleach out if left in the sun - get UV protectant spray or varnish. Nicer acrylic paints are less prone to sun bleaching, but they still do. Plan accordingly. Oil paints are much less prone to this. 
• Solvent-based markers blend together MUSH MORE SMOOTHLY than alcohol-based markers. 
• There is an acrylic paint medium for literally every effect you can conceivably think of (fabric paint medium, gloss medium, fluid medium, sand medium, fast-dying/slow-drying medium, etc.). 
•  If you’re going to buy student-grade paint to save cash, buy earth-tones (burnt sienna, ochre, etc.); they are made with cheap pigments already, and you wont tell a difference. You WILL tell a difference between student-grade and artist-grade bright colors (all yellows, blues, and reds). 
• If you’re working with markers but aren’t using marker paper, you need to switch. Markers don’t blend on printer paper, they just layer (even expensive markers). 
• If you want a glass palette for paint mixing but don’t want to shell out the cash, buy a giant picture frame at Goodwill, take the glass out, and electrical tape it to a piece of foam board the same size for stability. 
•  Hog bristle brushes are for oil paint, sable brushes are for watercolor, and synthetic brushes are for acrylic and oil (but not watercolor because synthetic bristles can’t absorb water). 
•  If you’re going to splurge on any aspect of your creation, splurge on the paper. Get the good stuff - crappy markers/paint/pencils look good on good paper, but not the other way around.  (There is more, but these are the big ticket items)

• Coloured pencils can be very waxy and leave a crayon-like waxy residue behind, which you will notice most when burnishing (pressing down very hard). Prismacolors are famous for this, Derwent Studio does it among the least (Derwent Artist does it more, Derwent Lightfast is oil based and Derwent Procolor is a Prisma dupe). If you tried expensive coloured pencils and didn’t like how they felt or looked, the waxiness might be the issue! You may love it or hate it, try lots of different kinds. You almost never need Caran D'ache unless you have money to burn or you’re a professional artist re: pencils.
• Soft pastels are among the most pigmented mediums there are other than straight pigment. If you buy Schmincke and drop it on the carpet and step on it, especially a carpet, you will have to buy a new carpet. Only use high quality soft pastels in areas where the surfaces don’t matter so much if they stain!
• Not all ink felt-tip markers are made equal. Micron is superficially waterproof, but will not stand up to repeated heavy washes of water or brush rubbing. Artline Drawing System can stand up to several washes of water. Don’t trust whether it says waterfast, water resistant, or waterproof outright, test it based on how you want to use it.
• A malleable eraser is your best friend if you ever work with any kind of pencils, pastels, charcoal, graphite etc.
• Cheap coloured pencils will sometimes have inclusions in the lead that will literally scratch your paper. Often what makes some of these cheap is often the wood quality, which means the pencil lead will crack more often as a result.
• If you ever want to experiment in sketching with lead pencils, HB to 6B+ indicate the darkness/creaminess of the graphite! 2B is a very nice place to start with sketching, HB is excellent for technical sketching, and 6B is fantastic for deep black work but terrible for fine detail. Pacer/technical pencil leads often come in HB, B and 2B! Make sure you buy a lead density that you need. I prefer 2B in my technical pencils for thickness. Technical pencils also come in different lead thicknesses! You can create a lot of different drawing experiences by changing it up (and red leads can be fantastic too).
• Good pastel paper will always have decent tooth on one side. Don’t bother with cartridge or worse, lithograph paper for something like soft pastels. Shell out for something with tooth. You will see the difference immediately.
• Tortillons (and blending stumps) are smudge sticks for smudging soft pastels (some pastels still use toxic pigments and while we all smudge with our fingers sometimes we really shouldn’t do it all the time). You can buy them from the store, but you can also make your own by rough-tearing the edge off a piece of printer paper, or thinner watercolour paper, and then rolling it up and taping it. If you roll it very tightly, it behaves more like a tortillon. If you roll it more loosely so there’s a visible hole in the middle, it behaves more like a blending stump! These are great for blending in fine details.
• Pencil extenders cost about $10-20 for two, and will extend the life of your coloured / graphite / pastel pencils until they’re nothing but nubs, while making them extremely comfortable to continue using. Derwent make two that suit all their range, but you should be able to find many kinds. Trust me, if you’re a heavy pencil user, it’s worth it.
• You will almost always run out of white coloured pencil faster than any other colour, this is why many art stores will make it very easy for you to just stock up on white pencils. Do this if you’re getting into coloured pencil work!
• Experiment with different coloured paper!
• Acrylic pens should never be stored point down, but on their side. Black felt-tip pens like Microns should be stored pointing down, or on their side, but never pointing up. Make sure you know the best way to store your art pens!
• If you’re working heavily with soft pastels, and have asthma or respiratory issues, mask up around the dust. Most soft pastels don’t use heavy metals anymore (but not all! I’m looking at you, Schmincke), but even so, inhaling dust is not a good idea. Make sure if you’re working on soft pastels you’re not blowing the dust away. If you’re not working with your paper upright, then tap the dust off if necessary.

This was the first set I had been on that featured three directors, and hopefully the last. One director was there to primarily film the sex scenes, which he did effectively and economically. The other two directors handled what is called in porn-lingo ‘B-Roll’, i.e. everything non sexual. Which on this film was substantial. The plot for To The Last Man involves two ranches populated entirely by horny men who have random sex and feud over water, as they are in the middle of a crippling drought. Which is why we filmed in Arizona during thunderstorm season…

It’s amazing no one got killed, or seriously injured. There was horse riding, there were fight scenes of rocky escarpments, there were drownings. When the real guns and live ammunition came out for a scene I thought, “That’s it, I’m going back to the truck”.

Fortunately, one of the models was also a fully qualified nurse, so that saved money, time and also lives. Plus, he was sexy, so it was win/win.