Page 2

The finished shape
This was the shape when I was happy with it.
 
The curves are not perfectly smooth. I could have spent a long time simplifying the path and smoothing it out, but that, I thought, would be easier in illustrator.
 
To get the path I saved this layer as an alpha channel, inverted it, loaded it as a selection, converted the selection to a path and exported it to illustrator.
 
While I was making the visualisations I used each current stage as a desktop wallpaper. Can you see it in the background?

The layer palette
Here's the layers palette showing the stages between photograph and finished sillhouette.
 
Who says I can't spell symmetrical? Photoshop did that.
 
"What immortal hand or eye could frame thy fearful symmetry?"—William Bysshe Keats

Wood for the template
I selected a piece of wood for my first template; the bottom of a drawer from an Edwardian chest of drawers. It's joined pine, very flat and reasonably thick.

I aligned them using a needle through the centres of the registation marks, weighted them down so that they would not move and stuck them together with PVA glue.

I found some ancient sheets of carbon paper. (What size is that? Foolscap?)

And traced my printout with a ball-point pen.

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