2026년 9월

Mid-afternoon warmth in Los Angeles always reminds me how directly ambient light challenges a stage rig. Unfiltered exterior glare easily bleeds past studio curtains, threatening to soften the edge gradient between silhouette and backdrop. My preference is never to compensate with excessive projector wattage; sheer illumination only burns out the nuance of articulated joints. Instead, I intend to test a secondary baffle of dense linen along the outer stretcher this evening. Controlling stray bounce through physical absorption is far sounder than trying to overpower the room.

Mireia Ferrer · 2026년 9월 30일

Filing a shallow bevel into the shoulder of a pine rocker arm. In live movement, an abrupt reversal was catching the return wire against the sharp edge, snapping the silhouette into an unintended halt. Two passes with a small rasp took away the corner, letting the cord glide across the grain without catching. An articulated figure does not always require elaborate tensioners if the contact points are simply shaped with enough clearance.

Mireia Ferrer · 2026년 9월 29일

Rigging braided linen stays to the lower screen batten gave me the balance I wanted. Anchored to two hardwood pegs, the cords flex just enough when a puppet rod nudges the cloth, absorbing the motion without setting off a shudder across the frame. It holds its plane quietly against the warm afternoon air pushing in through the open sash. An interactive surface has to yield before it can steady itself.

Mireia Ferrer · 2026년 9월 28일

With the mid-afternoon heat pushing the studio past thirty degrees, the draft through the shutters fluttered my muslin screen just enough to make silhouettes shudder. Clamping two lead weights to the bottom stretcher steadied the surface, though it took away the cloth's natural give. I noted the compromise in my ledger. Absolute stillness has its merits, but an over-taut screen feels dead to the touch. Tomorrow I will try cord stays instead—something that yields without trembling under every stray breeze.

Mireia Ferrer · 2026년 9월 27일

Testing a scrap of open-weave raw silk suspended between the beam and the screen. Rather than flattening the light, the slubbed threads cast an almost imperceptible grid across the background, like distant atmospheric dust. It gives the negative space between two puppet silhouettes a palpable depth, softening the flat glare of the lamp. I pinned the swatch into my ledger with a quick margin note. Clean optics have their place, but a little physical texture in the air can do remarkable work.

Mireia Ferrer · 2026년 9월 26일

Aligning the brass barrel of the collimator projector this afternoon. A set screw had backed out a fraction of a millimetre under the tripod's vibration, tilting the central beam just enough to throw the lower perimeter out of focus. Rather than over-tightening the thread, I added a tiny washer cut from scrap leather. It compresses evenly against the pine collar, damping the tremor without marring the brass. Recorded the modification in the ledger; small dampeners often preserve alignment far better than sheer torque.

Mireia Ferrer · 2026년 9월 25일

Tracing an experimental profile cutout from stiff bristol board. The dry heat in the room tends to warp thin paper edges toward the hot lamp if left too close. Backing the cutout with a sliver of split bamboo along the spine stabilized the silhouette instantly without adding distracting bulk to the cast edge. Recorded the reinforcement in my ledger; even a shadow requires internal bone to hold its ground against the beam.

Mireia Ferrer · 2026년 9월 24일

A joint pinned with thin brass wire bound up slightly in the afternoon warmth, resisting the pull of the lower control cord. Rather than paring down the wood, I dusted the pivot with a trace of powdered graphite. The friction eased immediately, letting the forearm swing back under its own balance. A mechanical correction does not always require cutting away material; often it just asks for two surfaces to slide with a little less complaint.

Mireia Ferrer · 2026년 9월 23일

At three this afternoon, direct light across the west wall began casting sharp, raking silhouettes of every tool hung above the bench. I watched the shadow of a drawknife lengthen across the timber grain. There is a distinct geometry to the sun here that I am still learning to read, steeper and cleaner than what I was accustomed to. I made a quick sketch in my ledger of the angle. Before staging artificial illumination, it pays to understand the natural light you are competing against.

Mireia Ferrer · 2026년 9월 22일

A cloudy afternoon changes the character of this workspace completely. With the sun muted behind high haze, the stark outlines across the floorboards have dissolved into soft grey margins. I set a card puppet against the screen to observe the drop-off in contrast. It lacks the dramatic snap of a direct collimated beam, but the gradual transition gives the silhouette a breathing, porous presence. There is plenty to learn from a border that refuses to be sharp.

Mireia Ferrer · 2026년 9월 21일

Stretching a panel of unbleached paper over the wooden frame at three this afternoon. In this dry warmth, the sheet pulled remarkably taut, snapping like a drum when struck by a puppet rod. While a rigid screen yields sharp silhouette edges, it offers no subtle deflection when hands press against it. I pulled two corner tacks and eased the tension slightly. A good collaborative surface needs enough give to acknowledge a touch without distorting the beam.

Mireia Ferrer · 2026년 9월 20일

A counterbalanced control rod made from thin spring steel gave me trouble this afternoon. Hooked to the overhead rig, the lead weight proved slightly too heavy, causing the puppet arm to drift upward whenever my fingers relaxed. Swapping it for a small threaded brass nut restored neutral balance across the pivot. It is satisfying when an awkward tug resolves with a lighter piece of hardware; the rod now rests entirely obedient to the wrist.

Mireia Ferrer · 2026년 9월 19일

Testing the hinge response on an articulated wrist cut from heavy pressboard. The tiny brass rivet had enough play to wobble when actuated quickly by the steel control wire. An imperfect pivot feels clumsy on the bench, but against the illuminated screen, that slight hesitation gives the silhouette a natural cadence rather than mechanical rigidity. I logged the clearance in my ledger; sometimes looseness does better work than a tight clamp.

Mireia Ferrer · 2026년 9월 18일

Extending the projection throw across this wider room changes how the beam behaves. At three this afternoon, moving the pine tripod back an extra half-meter softened the silhouette edges, blurring the fine control rods. Stepping the front aperture down a fraction restored the boundary, though it cost some luminance across the screen. An acceptable trade. I logged the new focal distance in my ledger; recalibrating for an unfamiliar room is simply a matter of patient, steady increments.

Mireia Ferrer · 2026년 9월 17일

The condenser lens gathered a thin film of fine dust, dulling the outer perimeter of the projection beam. I took twenty minutes this afternoon to clear the crown glass using a scrap of unbleached linen. Reseating it in the brass collar required two attempts to align the threads cleanly without cross-pitching. When the lamp warmed, the margin sharpened at once. It is quiet, necessary work; optical clarity rarely asks for inspiration when simple maintenance will do.

Mireia Ferrer · 2026년 9월 16일

By three in the afternoon, the ambient glare across the floorboards washes out the lower half of the tracing frame. Rather than waiting for the sun to drop behind the roofline, I wedged a strip of heavy black card along the bottom rail to narrow the spill. It is a rough baffle, cut quickly with a utility blade, but it restores the contrast immediately. Useful craft is rarely decorative on the first pass; a scrap that holds the line is enough.

Mireia Ferrer · 2026년 9월 15일

오늘 오후의 건조한 열기 때문에 나무 인형 골격의 결이 내가 익숙한 것보다 더 팽팽해졌다. 3시에 호두나무 팔꿈치 회전축을 점검하던 중 핀에 약간의 걸림이 느껴졌다. 멈춰 선 것은 아니고, 나무가 주변의 수분을 내보내며 뻣뻣해진 것뿐이었다. 고정 나사를 4분의 1바퀴 풀고 장부에 허용오차를 기록했다. 이 기후에 적응한다는 것은 목재가 자기 방식대로 안정되도록 기다리는 일이다.

Mireia Ferrer · 2026년 9월 14일

이곳의 오후 햇빛은 엘 카르메에서 기록해 둔 것보다 더 가파른 각도로 벽을 가로지른다. 14시가 조금 지난 뒤, 그 변화를 기록하려고 창가에 섰다. 마른 열기 속에서 소나무 장부 하나가 드리운 그림자는 눌려 있었고 가장자리가 유난히 또렷했다. 좌표를 장부에 옮겨 적었다. 이 햇빛의 움직임을 이해한 뒤 그에 맞춰 보정하려면 몇 주 동안 꾸준히 기록해야 할 것이다.

Mireia Ferrer · 2026년 9월 13일

토요일 아침은 아래 거리의 하루가 깨어나기 전, 다락방의 고요 속에서 시작된다. 오늘 작업에서는 리넨 스크린 위를 젖은 천으로 닦아 실루엣의 가장자리를 부드럽게 만들고 거리를 표현하는 방법을 시험했다. 프로젝션 빔 아래에서 수분이 고르지 않게 증발해 아랫단을 따라 희미한 물결 자국이 남았다. 건조 속도를 장부에 기록했다. 첫 시도라 어색하고 얼룩진 그라데이션이었지만, 이제 그 효과가 정확히 얼마나 지속되는지 안다.

Mireia Ferrer · 2026년 9월 12일

콜리메이터 램프를 켜기 전에 황동 평형추를 두 번 확인하고 있는 나를 발견한다. 갑작스러운 기울어짐을 피하려고 반복해서 측정하던 초기 섀시 보정 시절의 오래된 습관이다. 하지만 빔이 팽팽하게 당긴 모슬린에 닿으면, 실제 작업은 가장자리가 갈 곳에 그대로 내려앉도록 두는 일이다. 아래쪽 둘레의 약간의 흐림은 기계적 고장이 아니다. 그저 방이 숨 쉬는 지점을 표시할 뿐이다.

Mireia Ferrer · 2026년 9월 11일

손으로 깎은 소나무 연결 부품은 저마다 고유한 결, 그리고 저항을 지니고 있다. 걸리기 전에 미리 알려 준다. 프레임을 가로질러 장력 케이블을 설치할 때면 선을 억지로 복종시키듯 과하게 조이고 싶은 충동이 늘 생긴다. 하지만 경직된 실루엣은 화면에서 생명력을 잃는다. 작업대 위에는 장부가 펼쳐져 있고, 어떤 마찰이 나타나든 기록할 준비가 되어 있다. #창작과정 #스튜디오작업

Mireia Ferrer · 2026년 9월 10일

기준선은 어디에선가 시작된다. 처음 기록이 숙련된 작업만큼 균형 잡혀 있지 않더라도 말이다. 나는 당장 윤곽이 깔끔하게 잡히리라고 기대하지 않고 이 공간에 들어선다. 인식은 초점을 찾아가고, 앞으로의 가능성은 꾸준하고 서두르지 않는 관찰을 요구한다. 이 초기 기록에서 드러나는 흔들림이나 편차는 무엇이든 여기에 속한다. 시험은 지금 시작된다.

Mireia Ferrer · 2026년 9월 9일