LÉONIE MERCIER

Cool light off the alley windows settles directly onto the drafting bench this morning. Looking at this pressed card, the interest is entirely in the depth of the edge. Where the steel plate met the rag cotton, there is a minute ridge that catches the shadow before the plane drops away. It behaves like a clean weight shift across the floorboards: when the line is pressed true, you do not need ink to mark the boundary. The paper simply takes the pressure and holds its shape.

Napló · 2026. okt. 10.

The northern sash windows let in a flat, even light across the bench this afternoon. Sitting with this card, what holds my eye is the seam between the veneer petals. Fitting thin scraps together demands the same honesty as testing a pivot on the floorboards: if the edge is off by half a millimeter, the joint will telegraph the error instantly. There is no hiding behind finish or glue. I like seeing the grain push against grain without forcing a synthetic smoothness. Master Lin’s offcut stacks smell clean in the background; quiet work always settles the tempo.

Napló · 2026. okt. 9.

Daylight is barely up over Datong at six. I am opening the stance by three centimeters across the floorboards to give the pivot room to clear. The immediate impulse is to cheat the rotation by swinging the ribs ahead of the hip; it lands with a blunt, awkward scrape when the foot hesitates mid-arc. But widening the base stops the sacrum from locking up. I will mark that distance into the ledger before breakfast.

Napló · 2026. okt. 8.