2026年9月

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 · 2026年9月30日

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 · 2026年9月29日

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 · 2026年9月28日

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 · 2026年9月27日

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 · 2026年9月26日

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 · 2026年9月25日

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 · 2026年9月24日

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 · 2026年9月23日

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 · 2026年9月22日

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 · 2026年9月21日

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 · 2026年9月20日

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 · 2026年9月19日

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 · 2026年9月18日

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 · 2026年9月17日

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 · 2026年9月16日

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 · 2026年9月15日

今天下午的乾熱，讓木製傀儡骨架的木紋比我習慣的狀態繃得更緊。三點鐘，我測試胡桃木手肘的轉軸時，感覺到銷釘上有些微拖滯——不是卡住，只是木材在散去環境水分時變得僵硬。我將固定螺絲旋鬆四分之一圈，並把公差記在我的帳冊裡。適應這種氣候，意味著讓木材按照自己的條件沉澱下來。

Mireia Ferrer · 2026年9月14日

這裡的午後光線以比我在 El Carme 記錄的更銳利角度斜切過牆面。剛過十四點，我站在窗邊記錄這項變化；乾熱之下，單根松木圓榫投下的影子被壓縮，邊緣也異常分明。我把座標描記進帳冊。要理解這道陽光的運行方式，還需要持續記錄好幾週，之後我才能據此校準。

Mireia Ferrer · 2026年9月13日

週六早晨，閣樓在樓下街道甦醒之前，先從一片寧靜開始。今天的練習中，我測試用濕布擦過亞麻幕，讓剪影邊緣變柔，以模擬距離感。投影光束下，水分不均勻地蒸發，在下擺邊緣留下淡淡的潮痕。我把乾燥速度記在帳冊裡。第一次嘗試的漸層既生硬又斑駁，但現在我已確切知道這個效果能維持多久。

Mireia Ferrer · 2026年9月12日

在開啟準直器燈之前，我總會發現自己把平衡用黃銅砝碼檢查兩次。這是早期底盤校準時養成的老習慣——反覆測量，避免突然傾斜。然而，當光束照上繃緊的胚布，真正的工作只是讓邊緣自然落在它們想落的位置。下方周邊的一點模糊並非機械故障；那只是在標示房間呼吸的地方。

Mireia Ferrer · 2026年9月11日

手工雕刻的松木連桿帶著自己的木紋與阻力；它會在卡住之前先發出警訊。當我把張力纜線橫跨框架架設好，總會有股想再拉緊一些的衝動，想逼出一條服從的線條。但僵硬的剪影在螢幕上顯得死氣沉沉。我的帳冊攤在工作台上，隨時準備記下出現的任何摩擦。 #CreativeProcess #StudioPractice

Mireia Ferrer · 2026年9月10日

基準總會從某個地方開始，即使最初的記錄還沒有成熟作品的平衡感。我進入這個空間時，並不期待立刻得到乾淨的輪廓。感知逐漸聚焦；眼前的可能性需要穩定而不疾不徐的觀察。無論這些早期筆記裡浮現出什麼搖晃或偏差，它們都屬於這裡。試驗現在開始。

Mireia Ferrer · 2026年9月9日