If you’re using Hieroglyph for generating slides with Sphinx, you may
want to use the version in git rather than the release. A few things
have landed there recently:
tjadevries contributed fixes for incremental slides in Chrome.
It seems that a recent change in Chrome caused the incremental slide
stop working. master has a fix for that.
Proper pruning when autoslides are disabled.
If you have autoslides turned off in a document, Hieroglyph will
now properly prune the document when generating slides to only show
explicit slide directives. This was broken in 0.5.
Fixed header sizing for slide directives.
The slide directive allows you to specify a level attribute.
This is supposed to be used for determining how to render the slide
title (for example, a level of 2 should render the title as an
<h2>). This was broken in 0.5, and is fixed now.
I’m using Hieroglyph for my PyCon tutorial, “Effective Django”
, but the way I’m using it is pretty different than it has been
previously. The slides and HTML output differ more, so I’m not relying
on automatic slide generation the way I was initially. I expect I’ll
make a new release around PyCon (mid-March) when I’ve done an entire
talk in this manner.
|tags:||sphinx, hieroglyph, rst
“Untitled (Bay Bridge)”, copyright 2013,
8” x 10” four plate linocut print, printed on Rives BFK
Shortly after I finished “Golden Gate” last year I decided I needed
to do a companion piece depicting the other bridge in San Francisco.
I pulled the first prints of the new piece on Wednesday, and I think
it’s pretty interesting how it turned out. Just like on “Golden Gate”,
I tried to stretch technically. One of the plates — the sky and water
— is cut in two so I could ink the gradient the way I wanted to. When
carving the water I limited myself to a rounded edge carving tool to
try and make it more “shimmering”. And the cables on the bridge are
represented using carved lines against the sky. All three experiments
feel pretty successful to me.
When I was printing “Days Getting Shorter“, I experienced how
much fun printing multiplate prints can be when the registration is
loose. The loose registration on those plates meant that I could focus
on inking, colors, and other things, and the registration just sort of
happened. The registration on this piece is much tighter, and of the
five I printed I only got one where it’s really right on. But even the
ones where’s it’s a little off don’t feel like failures to me: I
think because there’s so much going on, it’s easy to enjoy other parts
of the image. And working on tight registration is something I can
practice in upcoming work.
“Golden Gate”, copyright 2013,
8” x 10” linocut print with watercolor, printed on Rives BFK
In the process of working on Golden Gate last year, I printed the
black plate on its own a few times. I’ve been experimenting with
watercolors recently, and this is my latest attempt at mixing
watercolors with my printmaking. I like how different it feels from
the four plate print version. In Art & Fear, the authors talk
about how every piece necessarily contains within it the seeds of what
comes next: something you want to experiment with, try to do
differently, take a little further. Part of what’s been so satisfying
about experimenting with watercolors is that that seed is obvious, and
at the same time I’m able to enjoy where I am today. That balance,
appreciating what I’m doing today while at the same time feeling
energized about where I’m going, is difficult and often fleeting. So
I’m trying to enjoy it while it’s here.