Visiting with our daughter on Guam is an exciting adventure; from “Boonie Stomping” to photographing the local scenery and people. Recently my husband, Tom, and I decided to try our hand at ocean fishing. On our first venture into the Philippine Sea we had the good fortune of catching two large Wahoo (or ‘Uno’ as the Hawaiians call them). Here we are with “Captain Jeff” holding the 37 and 42 pound Wahoo.
I had a recipe too :) -
"Grilled Wahoo"
Ingredients:
4 fillets wahoo, about 1/2 inch thick
1/2 cup butter, melted
1/2 cup extra-virgin olive oil
6 cloves fresh garlic
1/3 cup parsley
2 Tbsp lemon pepper seasoning
1 lemon, juiced
lemon wedges for garnish
Instructions:
1. Spray grill with nonstick spray - Preheat on high for about ten minutes.
2. Puree all remaining ingredients except lemon wedges in a blender to a smooth sauce.
3. When ready to cook, brush both sides of fillets with sauce.
4. Place fillets on grill and cook, turning once or twice. Brush on more sauce as needed.
Fish is done when it flakes easily (about 5 minutes). Squeeze on fresh lemon and serve hot. This recipe is good for a variety of fish fillets. Can also be cooked on a non-stick fry pan with tasty results.
Submitted by Marsha Devine, GD Adjunct Faculty
Spy Cameras in Distance Learning?
The Chronicle of Higher Education
July 24, 2008
Tucked away in a 1,200-page bill now in Congress is a small paragraph that could lead distance-education institutions to require spy cameras in their students’ homes.
It sounds Orwellian, but the paragraph — part of legislation renewing the Higher Education Act — is all but assured of becoming law by the fall. No one in Congress objects to it.
The paragraph is actually about clamping down on cheating. It says that an institution that offers an online program must prove that an enrolled student is the same person who does the work.
Congrats to Marnie Michels! Here is new addition Claire and big sister Elena
I do have a link to a very interesting artist's site.
I received an email about this artwork and thought I would pass it along to you. Back when I was a kid, I can recall having an "Etch a Sketch" and I bet many of you did as well. Honestly, I never realized that one could draw such detailed illustrations with this simple device. Check out the work of artist George Vlosich III, who started using the "Etch a Sketch" when he was 10 yrs old (with impressive results even then!).
For those of you who have attempted contour drawings, you will related to these images as they, too, are one continuous line:)
Calling for entries: The Learning Centers are looking for student art for their galleries.
The Illustrator,Photoshop,and InDesign are looking for student's work to put in their student art galleries. Students must fill out a permission slip in order to enter work in the centers. Permission slips are located in each learning center under student gallery. We are excepting artwork currently.
This may be old news to the campus but this link is very helpful for anyone who teaches/uses Photoshop on a regular basis...They have some great interviews too. http://www.psdtuts.com and http://www.vectortuts.com
Another useful/popular site is the kuler tool by adobe. I share this with my students and warn them that bad color schemes in their work should be a thing of the past... http://kuler.adobe.com/
Best regards,
Nathan Pieratt
Sketches by Joe Podlesnik! (click to enlarge)
Blackle –It's the new google search page that saves power on CRT monitors because it emits black instead of white.
Here is a link that the drawing teachers are sure to appreciate! I think it goes under the category
of humor (One person posted under this video on youtube "Dude PLEASE stop posting videos!!!!!" - jp) This video presents a student describing the gist of Betty Edward's book "Drawing on the Right Side of the Brain." Instead of a "talking head" it's a talking torso and hands.
In the linked PDF (click here) you will find an upcoming exhibition and walking tour that I have work in:
Windows on Main Street
Beacon, NY
August 9 – September 7, 2008
www.beaconarts.org
I've additionally attached one of the images to be included as part of this showing.
- Jennifer Price
Woman in Chinese Hat 1.0, Pigmented Ink Print 20" x 30" 2008
Maria Creyts presented a short slide show at Pecha Kucha Night in Kansas City on July 29th -- along with several other local artists and designers. The event was held at Bar Natasha in the Crossroads Arts District.
In the slide pictured, Maria (who signs her works mariaurora) works on a set of silkscreen print projects:
"Reveries of a Sleeper w/ Ill-at-Ease Mind" incorporates used paper targets. Sections with bullet holes are collaged onto the back side of a perforated two-color silkscreen; a page of bright red lace pattern silkscreened on rice paper is fastened behind Ð this has the effect of down-playing the appearance of the bullet holes and can suggest violence or rivulets of blood.
The format of the print is like a lace-covered bed pillow. I think of it as having absorbed nightmares and the "un-rest" of an ill-at-ease sleeper. Around the edges butterfly wings are fixed to the print Ð they suggest both nature and violence. I collected them from the leftovers of meals of a pet Praying Mantis last summer.
The conscience of a murderer should be ill-at-ease, yet I also think of being ill-at-ease about our impact on nature ~ which should cause one to lose sleep. For example, inaction means there are aggregations of floating plastic trash in the sea. One of these located between California & Hawaii is twice the size of Texas.
I'm walking 60 miles in the Philadelphia 3-Day for Breast Cancer Research...October 17-19. Right in the beginning of the fall semester...thank goodness for internet cafes. My web page is at http://08.the3day.org/goto/gayle
Gayle Hendricks
Adjunct AIO
Teaching
FACILITATE THE GROUP LEARNING technique!
Grouping students together to answer questions in dqs
Why this needs to be implemented in the course –
By grouping students together to answer questions you are facilitating group learning and group problem solving.
During the last two days of each week, it is good practice to look at the summations of each answer and make sure that the students have solved the problem or come to a consensual conclusion regarding the answer.
Finally, create your own conclusive statement regarding the discussion question.
EXAMPLE:
In many courses there are exercises within the discussion questions sections, for example in Digital Image Manipulation 2.
In week 3, dq3, students are asked the following question: “Other than the example given in the lecture, describe a situation where it would be advantageous to create a separate layer from an existing layer style.
Study the photo below. Identify what you think is wrong with the photo. Describe the steps you would take to retouch this photo to improve it.
HOWEVER, I go further and request the students to try the steps they are writing about and post the before and after of the image.
__________________________________________
Here is a response I posted to ALL students in the course to look at a specific students work and attempt the steps that he has taken,
ALL, TAKE A LOOK AT BROCKS METHODS HERE,
Brock has some other methods for helping clean up this image of the boy......
please try them if you haven't already.....more tools to add to your Photoshop tool belt guys and gals!
thanks brock!
Here is an additional reply to a peer, by this student to another student regarding the steps he took and further suggestion for her to take. Melinda
I got rid of the grainy by using the "reduce noise" filter... it smoothes everything over quite nicely and you can control how much! Try that!
Another cool thing is the "hightlight/shadow" option under adjust color... it will inject light into dark areas and vice versa. This worked nicely on the boy's hair and skin tones.
In summation, this prods students to learn from each other by trying the steps in which this particular student attempted to fix the above photograph.
IDEAS for connecting with students ….
BIOGRAPHY assignment:
In the biography section of each course it is important to reply to each student and make a connection with them.
Then, throughout the first week make sure that you keep replying to them.
Upload your own professional work in the Doc sharing section as this will help them see your credentialed to teach them and will be a way for them to see what to strive for in their own portfolio in regards to organization of a portfolio and the professional look that they need to strive for throughout their AIOP tutelage.
ANNOUNCEMENTS
Another way to connect with students is to create announcements each week that summarizes the weeks work. Discuss what students need to work on in general whether it be better communication and/or further expectations on an ongoing “course composite” project.
Summarize, briefly, what each student did or their ideas for a project in the announcements. This gives them a sense of pride that they are being recognized specifically by yourself and also by their peers, outside the classroom assignments.
TAKE NOTES:
Take notes on the students biographies so that you can refer back to them throughout the course. It is a quick way to refer to students backgrounds, software experience/knowledge and/or a way to connect once again throughout the class, individually.
Marnie Michels
The New Drawing Learning Center
Are you teaching Graphic Illustration, Digital Imaging, or other computer imaging courses? Do you spend more time helping students with basic skills such as perspective, figure drawing, proportion, foreshortening, sighting, or shading than on your class assignments? Then you will find the New Drawing Learning Center a valuable instructional tool!
The New Drawing Learning Center (DLC) offers students from all courses Tutorials, “Live” Workshops, and “One-on-One” Tutoring to address those foundation skills! Certainly students in Drawing, Perspective, and Life Drawing will gain insight and assistance with their drawing skills and techniques. So, too, students who are ready to take on the application of foundation drawing skills into CG applications will appreciate the critiques and advice that will improve their underlying drawing skills when working on finished illustrations and designs.
During Summer I, Live Workshops on Perspective, Line & Tonal Values, Shading & Shadows, and Figures & Portraits are scheduled for your students. These offerings are being expanded for the Summer II and Fall I & II sessions.
The New Drawing Learning Center tutors, Judith Marquez and Marsha Devine, invite you to direct your students to the DLC as a supplemental resource to your classroom instruction. Both Marsha and Judy are interested in hearing from faculty and students on what drawing topics are of specific interest. You are encouraged to submit suggestions on areas of need for tutorials to the tutors at Jmarquez@aii.edu or mdevine@aii.edu
Marsha Devine | The Art Institute of Pittsburgh Online Division
Adjunct Faculty
Graphic Design Department
(Communicator)
Hi everyone-
I wanted to take a moment to introduce our new faculty/advisor communication system, aptly named Communicator.
What is Communicator?
Communicator is an interactive database that allows advisors and faculty to share information regarding student concerns and track student processes such as confirmation, suspension, and holds.
Why are we introducing it?
Both faculty and advisors face challenges with communicating about students. Faculty must rely on e-mail to communicate with an advisor and may not always know if or when a concern was addressed. Advisors have a huge number of students to work with and so must manage huge volumes of e-mail daily. To make this communication more effective, we have created a tool that allows both sides to identify and track open and unresolved issues effectively.
Uses
Faculty can use the system in three ways:
To identify student issues such as holds, failure to pre-confirm for the next session, and updated student information (phone and e-mail).
To note initial contact details and update student phone numbers and e-mails.
To log concerns that they either want an advisor to take action on or that they want to record in case it becomes a problem at a later date.
Accessing Communicator
To access Communicator, please visit the following link:
https://www.edmc-online.com/fads/
To log in, please enter the username and password provided to you for the Course Scheduling system when you accept your classes. If you forget your password, you may use the "administrator" link to request the information.
Support Questions / Issue Resolution
To receive support or log issues regarding Communicator, please email:
ohecommunicator@edmc.edu
In your email, please be as specific as possible.
When reporting an issue, include these pieces of information:
· Application Area (ie. Course Summary, Student Detail, etc.)
· Sub-Area (ie. Concerns, Initial Week 1 Contact, etc.)
· Issue Description (Screen X is not display Y data, I got the ABC Error).
· Screen shots are always helpful.
Training
Training on Communicator can be found in the Faculty Development Training Center in eCollege:
Faculty Development Term
FDTC UA Faculty Development Training Center
The Communicator unit in the FDTC provides information and demonstrations for the following objectives:
· Introduce the major components of the Communicator system
· Address common ways that Communicator can be used to enhance interaction between faculty and advisors
· Identify precautions to take to assure compliance with both ADA and FERPA
· Offer an opportunity to discuss next steps and enhancements
Looking Ahead
Please consider the remainder of this current session as a training/learning period for Communicator. Go through the provided training information and explore the system. Try entering student concerns if any arise during this last week of the session. Please note however that the information in Communicator is live, and any information you put in the system will be logged for students.
Starting Summer Session 2, we will start using Communicator in an official capacity. The link for Communicator will reside in the Instructors Resources topic in the Course Home unit of every course. You will use it to note details of your initial calls to students during Week 1, to log any student concerns during the session, and to process attendance suspensions.
It is our hope that this system will allow you to more effectively interact with Academic Advising and to enable you to better resolve student issues when they arise.
Thanks!
- Jeff Davis
I have a couple of things for your consideration. The first is that I use Microsoft messenger so my students can speak to me directly whenever I am online - also I use Skype. When I have a discussion with a student about color theory my assumption is many others could benefit from it so I post it to discussions and solutions and call the whole classes attention to it through an announcement. This way my student's get instantaneous help, others in the class benefit and I get the advantage from the interaction by posting it on the thread which is how it is determined whether we are working or not. I am including a word doc transcript of one such discussion.
Also if a student presents a comment thread a project or a critique, which I think is excellent and would be a good example to others I give them an award that I call a Golden Click and attach an icon to their work and repost it. They really enjoy this and it helps call attention to good work and creates an incentive to work harder on the class in general. I also post the Golden Clicks on my website so they can refer to family and friends to them. That is a bit harder to keep on top of but I try to get in and post after every session.
I have attached my Golden Click icon as well.
:)
Alison
Dear Class,
I think that often many students have the same issues and questions about the subject we are studying. As it would be helpful to listen to a discussion in an on ground classroom it would also be helpful to see a transcription of such a discussion in our virtual classroom. For that reason I am posting this Microsoft Messenger discussion I had with Tabitha.
Feel free to add to this discussion, or bring to it your own questions.
J
Alison Microsoft messenger transcription between Tabitha Meyers (Color Theory Student) and Alison Barrows-Young (Color Theory Instructor)
Tabitha says: (11:01:03 AM)
This weeks assignments seem really hard'
Alison says: (11:01:18 AM)
What are you having trouble understanding?
Tabitha says: (11:03:48 AM)
Interaction of color is a hard book for me to read. I do not have a large vocabulary so a lot of the book I need to look up, lol.
Tabitha says: (11:04:15 AM)
Plus it gets real deep into the theories of color and I get lost.
Well I’m lost on this weeks reading.
Tabitha says: (11:05:18 AM)
For example, (I hope I'm not bothering you)
Alison says: (11:05:25 AM)
No go ahead
Tabitha says: (11:06:04 AM)
I just finished reading about color paper and how you can use them to mix color but I do not see how you can really mix the colors. I haven’t read the lecture yet
Alison says: (11:07:15 AM)
Okay
Tabitha says: (11:08:05 AM)
I understand optical image just the whole dominant color and things like that
Alison says: (11:09:14 AM)
Basically it has to do with our physiology that colors on paper change when set side by side
Tabitha says: (11:09:45 AM)
Right
Alison says: (11:09:50 AM)
Our eye's retina burns out on strong hues of high saturation
Alison says: (11:10:18 AM)
And then compensates by showing us the opposite color in it's place
Alison says: (11:11:25 AM)
So if a bright red in next to a green the eye after a moment or two cannot assimilate the red completely anymore and projects green
Tabitha says: (11:12:32 AM)
Right
Alison says: (11:12:38 AM)
So it adds green to the green that is already there making it more green and it removes any red that might be in that green as well so if the green was brownish from having red in it will look less so
Alison says: (11:13:50 AM)
Also some of us - many of us do not distinguish well between red and green anyway especially when it is de saturated
Tabitha says: (11:14:21 AM)
So the light in the green is dominate and takes over the red after awhile?
Alison says: (11:14:53 AM)
Not quite
Alison says: (11:14:29 AM)
No matter what this happens to subtle degrees when looking at two colors together
Alison says: (11:17:26 AM)
The bright red is no longer possible for us to see fully - it is burnt out and our eye is adding what is left green so a green beside it seems greener cause we can't see it's red either. The red (subtracts itself) and it looks greener because the eye is also adding more green from the red burn out it (adds the opposite)
Tabitha says: (11:17:58 AM)
Gotcha!
Alison says: (11:18:17 AM)
Think of it basically like there are only three colors that are truly possible to see and everything in front of us is a mixture of those
Alison says: (11:18:28 AM)
Red, yellow and blue
Tabitha says: (11:19:10 AM)
Ok
Alison says: (11:19:29 AM)
Red burns out on the retina our retina compensates with the two left over yellow and blue or in fact the combo of green
Tabitha says: (11:19:48 AM)
Interesting
Alison says: (11:20:10 AM)
If we burn out on blue red and yellow are cast over our vision - orange
Alison says: (11:20:44 AM)
Yellow burnout leaves red and blue which = purple
Tabitha says: (11:21:04 AM)
Wow ok that makes sense
Alison says: (11:21:47 AM)
It’s not complete burn out so we still see the color but not as vividly and the other two primaries are over casted to seem to created a different color mix
Alison says: (11:22:28 AM)
So if we are looking at an orange red and a blue green side by side?
Alison says: (11:23:17 AM)
The orange red looks more orange and the blue green looks less blue
Tabitha says: (11:23:34 AM)
Thanks for helping me out
Alison says: (11:23:55 AM)
Once you get it. It is kind of fun
Tabitha says: (11:24:07 AM)
It helps to remember the primaries and then everything seems to fit
Alison says: (11:24:20 AM)
Kind of like knowing how to do a magicians trick
Alison says: (11:24:55 AM)
Our body pays a big role in what we perceive
Alison says: (11:26:39 AM)
There is the color from light and the lack of light or the addition of pigment white or pigment black and also the combo of the two in grays to various amounts and then there is us our human physiology to add tot he equation
Tabitha says: (11:27:46 AM)
It’s a lot to take in lol
Alison says: (11:29:01 AM)
You can claim that if you pick up bananas your pulse mysteriously slows down. Have someone take your pulse and keep track of it as you pick up a banana then secretly hold your breath. It will seem to the person that your pulse and the banana are a connected phenomenon - magic but in fact it is purely and underlying physiology that most of us know nothing about
Alison says: (11:29:42 AM)
The same with color change
Tabitha says: (11:29:48 AM)
That would be interesting to try
Alison says: (11:30:28 AM)
It looks like the colors are actually mixing but they are not it is purely a physiological phenomenon that most of us know nothing about
Alison says: (11:31:08 AM)
Designers are magicians in most everyone else’s opinion
Alison says: (11:31:26 AM)
Color theory is part of their bag of tricks
Tabitha says: (11:31:30 AM)
Well that is true. They make you see what they want u to see
Tabitha says: (11:31:53 AM)
This class has made me realize the whole other world out there of color
Alison says: (11:32:17 AM)
Designers who know their color theory, know if two colors will not look the way the client imagines them because of simultaneous contrast
Alison says: (11:33:16 AM)
They can make a natural color appear richer or subtler by using a particular shade, tone and mixture of hues
Alison says: (11:33:54 AM)
Can bring out the red in an earthen wall or lower the distraction of the red
Alison says: (11:35:37 AM)
Paint the adjoining way a greenish taupe - pop the red paint it a blue taupe make it more orange a reddish taupe make it more grayed down a subtle
Tabitha says: (11:35:37 AM)
So in the book when the author talks about intersection that is just an illusion?
Alison says: (11:35:49 AM)
And yet also not in a way
Alison says: (11:36:31 AM)
It is an illusion as is most everything in the physical world
Alison says: (11:37:03 AM)
But it is what we truly see - so perhaps you could argue that it is not an illusion
Alison says: (11:37:36 AM)
Furniture is dense energy - does that make it an illusion or is it still furniture?
Alison says: (11:38:38 AM)
We think cars run on gas but they run on combustion - is there a reality and an illusion in that?
Alison says: (11:39:24 AM)
Alternative fuels means alternative combustion my actually alternative materials
Tabitha says: (11:34:37 AM)
I understand. It is interesting to look at it that way.
Alison says: 11:35:24 AM)
Good. Have at it! I have to run. Bye
Tabitha say: (11:35:43)
Okay, thanks. Bye
Also resently a student posted the following question to the life
drawing class about tracing. Here is the student question and my
reply.
cheating vs. technique
Valid technique vs. "cheating": where's the line?
STUDENT QUESTION: There are a number of various techniques or methods for accurately capturing subjects for life drawing, from sight measuring with a pencil (or ruler or thumb), to using a grid, to tracing. For the purposes of this class and then also for the outside or professional
world, what techniques are acceptable or encouraged and which are frowned upon or considered outright cheating? Can a drawing be considered more or less valid depending on the methods used to create it? For example, I assume that tracing a photograph under your paper would be considered a cheat. However, I have read about how (renowned fantasy art painter) Boris Vallejo will photograph his model, and then trace the photo and transfer the line drawing to the canvas it to get
the proportions and pose right. (Vallejo & Bell p 23) There's also the method of holding a clear plastic frame with a grid on it in front of the model, roughly tracing the figure's outline and features on it and then starting a drawing from that grid. This a step or two away from directly tracing, but is it that considered valid? I have been getting good results with measuring things with a clear
ruler and transferring those measurements (with a little math for scaling) to the paper. Is there a situation where this is not acceptable?
I think that ultimately we would like to be able to draw accurately by just looking (or imagining) and drawing without any crutches. But in the meantime, I was just wondering about your thoughts or philosophy on this subject, in and out of the classroom, and how it is viewed generally in the art community.
Thanks, Dennis
Source: "Boris Vallejo & Julie Bell Fantasy Workshop: A Practical Guide" by, Nigel Suckling, Thunder's Mouth Press, 2003
ANSWER: Honoria Starbuck
Dennis brings up some important issues about techniques such as tracing and how they relate to
the concept of cheating.
PLAGIARISM: If you digitally copy or photocopy someone else's drawing and hand it in as your own that is cheating. Direct copying is called plagiarism. It is not tolerated and you can be expelled for it. See the post on Plagiarism in the Announcements.
COPIES AND ANATOMY: You draw copies of anatomy illustrations to look inside the body and learn what causes the forms seen on the outside of the skin such as the shapes of muscles. These copies are to be done freehand but since they are copies of copies it's hard to tell if a student traces them.
I suspect some students do trace them. But even if a student gets the proportions right by tracing there remains learning line quality, values, and shading to create mass and define depth.
INNER STRUCTURE VS OUTLINES: This is an adult class. If a student wants to trace there is nothing I can do about it, and in some instances, as you mention, you can learn from tracing. If you just trace the outlines you will get an accurate cut out looking figure. If you follow the shading on the tracing paper you will learn more. I think you can learn the flow of the body by
tracing that you can then apply to drawing. But for this class the tracing technique is not acceptable because we do the 4-step method of building out from the stick figure, geometric figure, the values, then the rendering. This stick, geometric, value process goes from the inside out. Tracing usually concentrates on the outer lines and strong contours. In the more complex drawings tracing can be detected but not verified.
DON'T TRACE, DRAW: Please don't trace for this class. It makes for an ethical mess for students writing comments based on the belief in a freehand drawing. You can learn more from copying an old master than by tracing a photo so if you need to trace, I strongly suggest to trace an old master
drawing. But don't turn it in. Post it in the Student Lounge.
YOUR PROFESSIONAL GOALS: What do you want for your personal professional goal? Here are the key questions: Do you want to learn how to draw? Or do you want to learn how to trace and try to fool the teacher?
Drawing includes measuring, breaking down the form into parts such as contours, anatomy, shading, gesture, composition, line, shape, space, depth, etc.
Cheating is when you cheat yourself out of learning. If you love to trace with 2B pencils and never go outside your comfort zone you will not learn much. You will cheat yourself. I may or may not be able to tell unless it just becomes too consistent that it's obvious. I will notice more in the life drawing than in the anatomy studies that are
already copies of copies of body parts. But I've been drawing from
life for decades and life drawing is flawed and messy and interesting.
Tracing is too neat, outliney and much less interesting.
EXPRESSIVE VS REALISM: Drawing is expressive. I hope students will be more excited about the
process than worried that the actual end product is photorealistic. It's pretty obvious when students are copying from photos compared to
drawing from live models. A traced drawing is even stiffer looking
than drawings from photos. So, the main thing is to learn to draw. If
your goal is to do photorealism then your source will be photos. If
your goal is to be able to have confidence to draw people in any
situation to use in storyboards, ideation meetings, graphic recording
etc. then you must push yourself to use the tools and techniques of
traditional artists. Those tools and techniques will give you freedom
to record and to express the human form for a variety of purposes in
your chosen design profession.
You, as an adult learner, must draw your own line between technique
and cheating. In this class you can really learn a lot fast by using
your eyes, the measuring techniques including a portable grid, and a
variety of drawing supplies.
CHEATING DEFINED: The cheating line that is set in stone is turning in the work of
another student or another artist and claiming it as your own. That is
plagiarism and will not be tolerated.
Those are my thoughts on cheating. What do you think?
Cheers,
- Honoria Starbuck Life Drawing Facilitator
Click to enlarge
I am taking a landscape design course at the local college to diversify my design chops and break into new creative territory. It was interesting hearing the same design terms we use in class for our 2d works applied to this scape: The bush in the back was chosen because the smaller leaves (scale) contributed to the illusion of distance and depth and made the space seem bigger. The same-sized stones were repeated and placed to provide visual movement and directional flow and to reference a stream.
We could use a diverse gallery of real life designs for students who are wondering "why are we learning this"? Examples would demonstrate that what they are learning will indeed come in handy in both designing and discussing their work with peers, colleagues, superiors, and clients (:
- Jeff Prentice
The answer to last newsletter's WHODUNNIT (below) is: Willem DeKooning :-)
Photoblog
Going out on summer/autumn nights with a flashlight and looking for the soon-to-be-huge garden spiders.
- Jeff Prentice
About
This newsletter is produced by Jeff Prentice and Marnie Michels for faculty in the department of GD and foundations, part of AIPO. It is not an official EDMC document or publication - it is for general communication between faculty. Any questions on content, or interest in submissions contact jprentice@aii.edu or mmichels@aii.edu
