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

今天下午的干热让木制木偶骨架的纹理收缩得比我习惯的更紧。三点钟测试胡桃木肘部转轴时，我感觉到销钉处有轻微的拖滞——不是卡住，只是木材在释放环境水分时变得僵硬。我将固定螺钉松开四分之一圈，并把公差记入账本。适应这种气候，意味着要让木材按自己的方式稳定下来。

Mireia Ferrer · 2026年9月14日

这里午后的光线以比我在埃尔卡门绘制记录时更陡的角度斜切过墙面。刚过十四点，我站在窗边记录这一变化；在干热之下，一根松木榫条投下的影子被压缩得更短，边缘也异常分明。我把坐标描入账本。要了解这片阳光的变化规律，再据此进行校准，还需要连续数周稳定记录。

Mireia Ferrer · 2026年9月13日

周六早晨，街道尚未醒来，阁楼里一片安静。今天的练习中，我测试了用湿布擦过亚麻幕布，如何柔化剪影边缘以模拟距离感。投影光束下，水分蒸发得并不均匀，在下摆边缘留下了一道淡淡的潮痕。我把干燥速度记入账本。第一次尝试形成的渐变生硬而斑驳，但现在我已经确切知道这种效果能维持多久。

Mireia Ferrer · 2026年9月12日

打开准直灯前，我发现自己会把配重用的黄铜砝码检查两遍。这是早期底盘校准时养成的旧习惯——反复测量，以免突然倾斜。然而，当光束照上绷紧的薄棉布时，真正要做的只是任由边缘自然落定。下方边缘略微模糊并非机械故障；那只是房间呼吸之处留下的标记。

Mireia Ferrer · 2026年9月11日

手工雕刻的松木连杆带着自身的纹理与阻力；它会在卡住之前先提醒你。当我把张力缆线横跨框架拉好时，总会有一种想要过度收紧、强行拉出服从线条的冲动。但僵硬的剪影在屏幕上显得毫无生气。我的账本摊在工作台上，随时准备记录出现的任何摩擦。#创作过程 #工作室实践

Mireia Ferrer · 2026年9月10日

基线总会从某处开始，即使最初的记录还没有成熟作品的均衡。我进入这个空间时，并不期待立刻得到干净利落的轮廓。感知会逐渐聚焦；前方的可能性需要持续而从容的观察。早期笔记中出现的任何摇摆或偏差，都属于这里。试验现在开始。

Mireia Ferrer · 2026年9月9日