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Pride and Prejudice

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The entertainment of dining at Rosings was repeated about twice a week; and, allowing for the loss of Sir William, and there being only one card-table in the evening, every such entertainment was the counterpart of the first. Their other engagements were few, as the style of living of the neighbourhood in general was beyond the Collinses’ reach. This, however, was no evil to Elizabeth, and upon the whole she spent her time comfortably enough: there were half hours of pleasant conversation with Charlotte, and the weather was so fine for the time of year, that she had often great enjoyment out of doors.

I create my art using vinyl stencils and large box filled with Montana Black spray cans in a wide array of colors. Here's the step-by-step process:

  1. The preparation is where much of the effort lies. I start out with source material from photographs and movie stills, using Photoshop to build the concepts I envision. The key is to simplify these images into just a few color layers that are aesthetically pleasing and maintain structural integrity once they are cut into stencils.
  2. The cutting. Previously I did this by hand using an x-acto knife and paper stencils. Not only was this very labor-intensive and gave me RSI, the fact that paper stencils are not re-usable had a negative effect on the creativity. I found myself making designs simpler and in fewer layers simply to save myself from a lot of work. Fortunately, I’ve since upgraded to a plotter that cuts precise, reusable vinyl stencils. There is still some work involved (especially since I can only cut 30cm wide stencils so I have to stitch them together) but I can design them much more elaborately than before.
  3. Then, layer by layer, I build the painting on a canvas or canvas board. Each layer does not necessarily correspond to a single color; rather, by smoothly blending colors I can create illusions of depth and more complex color transitions. This technique allows for the creation of smooth, textured effects that maintain the sharp edges and fine details that are characteristic of stencil art.

    Every time I ascended to the deck from my watches below, I instantly gazed aft to mark if any strange face were visible; for my first vague disquietude touching the unknown captain, now in the seclusion of the sea, became almost a perturbation. This was strangely heightened at times by the ragged Elijah’s diabolical incoherences uninvitedly recurring to me, with a subtle energy I could not have before conceived of. But poorly could I withstand them, much as in other moods I was almost ready to smile at the solemn whimsicalities of that outlandish prophet of the wharves.

    Stubb was the second mate. He was a native of Cape Cod; and hence, according to local usage, was called a Cape-Cod-man. A happy-go-lucky; neither craven nor valiant; taking perils as they came with an indifferent air; and while engaged in the most imminent crisis of the chase, toiling away, calm and collected as a journeyman joiner engaged for the year. Good-humored, easy, and careless, he presided over his whale-boat as if the most deadly encounter were but a dinner, and his crew all invited guests. He was as particular about the comfortable arrangement of his part of the boat, as an old stage-driver is about the snugness of his box.

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