Silhouettists have been keeping detailed archives of their work for nearly 250 years. It’s a tradition I keep alive today, but it’s a lot of work!
WHAT SHOULD a silhouettist’s approach to data protection be? This question has been much on my mind recently. I’m not alone; the launch of GDPR in Europe – and the subsequent wave of reply-or-unsubscribe emails – has got everybody thinking. What kind of data do I use? For me, the question has caused me to
IF YOU’VE EVER SEEN my film, or heard me speak, you will know the story of how I taught myself to cut silhouettes by studying the duplicate albums of Hubert Leslie.
I’M EXITED to report we’ve at last started filming Silhouette Secrets. We filmed this interview and “how to cut a silhouette” sequence in front of my wall of silhouette duplicate albums. It is unlikely to be used in the film, but I hope it gives a flavour of what we have in mind.
ONE OF MY FAVOUITE projects in Mastering Silhouettes was to create a set of silhouettes for a doll’s house. However, I had to think carefully about scale!
