Saturday, June 27, 2009
Thursday, June 11, 2009
Art rejection: by B.J. KATZ Glass Artist
"Rejection is part of being an artist - don't take it personally or get discouraged, especially in the early stages of your art career. Keep putting yourself out there. Art being a matter of taste; there is no right or wrong. Rejection simply means that the other person has different taste, desires or experience. Remember that each 'no' is a step on the way to a 'yes.'"
Saturday, May 30, 2009
tortillini salad
Tortellini Salad, but not
slightly adapted from ...and a cookie for dessert
Makes 8-10 side dish servings
2 bags frozen cheese tortellini or 1 pound pasta (campanelle)
1 small can sliced black olives, coarsely chopped
7-ounce jar roasted red peppers, coarsely chopped
6.5-ounce jar marinated artichoke hearts, coarsely chopped
8 ounces sun-dried tomato vinaigrette dressing
1/4 cup grated Parmesan cheese
8 ounces fresh mozzarella, cut into bite-sized pieces
Cook pasta according to directions. Drain and rinse with cold water.
Toss pasta in a large bowl with olives, peppers, and artichokes. Toss with dressing and Parmesan cheese. Cover and chill for 1-4 hours. Add mozzarella, gently combine, and add more dressing if necessary. Chill until ready to serve.
slightly adapted from ...and a cookie for dessert
Makes 8-10 side dish servings
2 bags frozen cheese tortellini or 1 pound pasta (campanelle)
1 small can sliced black olives, coarsely chopped
7-ounce jar roasted red peppers, coarsely chopped
6.5-ounce jar marinated artichoke hearts, coarsely chopped
8 ounces sun-dried tomato vinaigrette dressing
1/4 cup grated Parmesan cheese
8 ounces fresh mozzarella, cut into bite-sized pieces
Cook pasta according to directions. Drain and rinse with cold water.
Toss pasta in a large bowl with olives, peppers, and artichokes. Toss with dressing and Parmesan cheese. Cover and chill for 1-4 hours. Add mozzarella, gently combine, and add more dressing if necessary. Chill until ready to serve.
Thursday, May 7, 2009
VEGIE ENCHILADA
VEGETARIAN ENCHILADAS
INGREDIENTS (Nutrition)
1 head broccoli, cut into florets
8 ounces whole button mushrooms
3 small zucchini, chopped
2 cups chopped carrots
1/4 cup olive oil
salt and pepper to taste
3 cups water
1 cup milk
1/4 cup butter
1 (7.6 ounce) package instant mashed potato flakes
1 (12 ounce) package corn tortillas
3 cups enchilada sauce
8 ounces shredded Cheddar cheese
ADD: Cumin and Chili Powder, Taco Spices to taste
Also may stove top grill the veggies
DIRECTIONS
Preheat oven to 425 degrees F (220 degrees C).
In a large mixing bowl, combine broccoli, mushrooms, zucchini, and carrots. Drizzle the vegetables with olive oil, and season with salt and pepper. Spread vegetables in a single layer in a shallow baking dish. Roast vegetables in the preheated oven for 30 to 40 minutes; stir halfway through their cooking time. When finished cooking, remove from the oven, and reduce oven temperature to 350 degrees F (175 degrees C).
Bring water, milk, and butter to a boil in a large pot. Remove the pot from heat, and mix in the mashed potato flakes. Let stand two minutes, then stir the mashed potatoes with a fork until they are smooth. Stir in roasted vegetables.
In a dry, nonstick skillet over medium heat, quickly heat each tortilla on both sides to make pliable. Dip the tortillas in enchilada sauce. Put a large spoonful (approximately 1/4 to 1/3 cup) of potato-veggie mixture into the center of each tortilla. Top mixture with about 1 to 2 tablespoons cheese, and roll tortillas. Place seam-side down in a 9x13 inch baking dish. Pour extra sauce over top, and sprinkle with remaining cheese.
Bake at 350 degrees F (175 degrees C) for approximately 20 to 30 minutes, or until the enchiladas are heated through.
May Subsitute:
Leeks
Green Peppers
Red Pepper
INGREDIENTS (Nutrition)
1 head broccoli, cut into florets
8 ounces whole button mushrooms
3 small zucchini, chopped
2 cups chopped carrots
1/4 cup olive oil
salt and pepper to taste
3 cups water
1 cup milk
1/4 cup butter
1 (7.6 ounce) package instant mashed potato flakes
1 (12 ounce) package corn tortillas
3 cups enchilada sauce
8 ounces shredded Cheddar cheese
ADD: Cumin and Chili Powder, Taco Spices to taste
Also may stove top grill the veggies
DIRECTIONS
Preheat oven to 425 degrees F (220 degrees C).
In a large mixing bowl, combine broccoli, mushrooms, zucchini, and carrots. Drizzle the vegetables with olive oil, and season with salt and pepper. Spread vegetables in a single layer in a shallow baking dish. Roast vegetables in the preheated oven for 30 to 40 minutes; stir halfway through their cooking time. When finished cooking, remove from the oven, and reduce oven temperature to 350 degrees F (175 degrees C).
Bring water, milk, and butter to a boil in a large pot. Remove the pot from heat, and mix in the mashed potato flakes. Let stand two minutes, then stir the mashed potatoes with a fork until they are smooth. Stir in roasted vegetables.
In a dry, nonstick skillet over medium heat, quickly heat each tortilla on both sides to make pliable. Dip the tortillas in enchilada sauce. Put a large spoonful (approximately 1/4 to 1/3 cup) of potato-veggie mixture into the center of each tortilla. Top mixture with about 1 to 2 tablespoons cheese, and roll tortillas. Place seam-side down in a 9x13 inch baking dish. Pour extra sauce over top, and sprinkle with remaining cheese.
Bake at 350 degrees F (175 degrees C) for approximately 20 to 30 minutes, or until the enchiladas are heated through.
May Subsitute:
Leeks
Green Peppers
Red Pepper
Thursday, April 16, 2009
Thursday, April 9, 2009
pulled pork
Everyone has their own way of preparing pulled pork. I have learned that in the slow cooker, less is more; meaning that the smaller number of ingredients that are used, the better the result. So this recipe for pulled pork is fairly simple, requires no advance prep time, and still comes out mighty tasty.
I prefer to buy pork tenderloin (on sale, hopefully) because I can't deal with fattier cuts of meat. Meanwhile, other people swear that other cuts (shoulder, butt, etc.) make the best pulled pork because the fat adds to the taste. I have made this numerous times with the tenderloin with great results; but please, choose whatever cut you want!
If you adjust the amounts on this, make sure that you read the instructions carefully on your slow cooker. Ideally, the cooker should be more than half full but no more than 2/3 of the way full to keep the meat tender and prevent it from drying out.
Pulled Pork
Makes about 6 servings
2 lb. pork tenderloin or cut of your choice
2 cloves garlic, minced
1 onion, sliced
1 bottle of your favorite barbecue sauce
Place pork in slow cooker coated with cooking spray. Rub garlic on top of pork and place sliced onions over top. Pour barbecue sauce over to coat.
I prefer to buy pork tenderloin (on sale, hopefully) because I can't deal with fattier cuts of meat. Meanwhile, other people swear that other cuts (shoulder, butt, etc.) make the best pulled pork because the fat adds to the taste. I have made this numerous times with the tenderloin with great results; but please, choose whatever cut you want!
If you adjust the amounts on this, make sure that you read the instructions carefully on your slow cooker. Ideally, the cooker should be more than half full but no more than 2/3 of the way full to keep the meat tender and prevent it from drying out.
Pulled Pork
Makes about 6 servings
2 lb. pork tenderloin or cut of your choice
2 cloves garlic, minced
1 onion, sliced
1 bottle of your favorite barbecue sauce
Place pork in slow cooker coated with cooking spray. Rub garlic on top of pork and place sliced onions over top. Pour barbecue sauce over to coat.
Wednesday, March 18, 2009
Pixar: Seven Creative Principles
7 Creative Principles Of Pixar by John Lasseter
1. Never come up with just one idea. "Regardless of whether you want to write a book, design a piece of furniture or make an animated movie: At the beginning, don't start with just one idea - it should be three.
"The reason is simple. If a producer comes to me with a proposal for a new project, then usually he has mulled over this particular idea for a very long time. That limits him. My answer always reads: 'Come again when you have three ideas, and I don't mean one good and two bad. I want three really good ideas, of which you cannot decide the best. You must be able to defend all three before me. Then we'll decide which one you'll realise.'
"The problem with creative people is that they often focus their whole attention on one idea. So, right at the beginning of a project, you unnecessarily limit your options. Every creative person should try that out. You will be surprised how this requirement suddenly forces you to think about things you hadn't even considered before. Through this detachment, you suddenly gain new perspectives. And believe me, there are always three good ideas. At least."
2. Remember the first laugh. "A big problem in the creative process is related to the enhancement of your ideas," cautions Mr Lasseter. "Revising, retouching, refining is very important, but it carries a danger.
"If you have a story, a joke, a thought, which you write down, it loses its effect over time. It wears itself out. When you hear a joke for the second time you still laugh heartily, on the third or fourth occasion already less so, and when you hear it the hundredth time, you hate it.
"I say to my authors: 'Take notice of the first laugh, write it down if necessary.' This may at times be bothersome, but it is important. Many times, good things got lost because people could not remember anymore how it felt when they heard the idea for the first time."
3. Quality is a great business plan. Period. "There is a crucial rule: no compromises. No compromises on quality - regardless of production constraints, cost constraints, or a deadline. If you get a better idea, and this means that you have to start again from scratch, then that's what you have to do.
"In any creative industry, quality is the sole business plan that prevails in the long run. Many managers fail to understand that, but the spectators understand it. The process is only finished once the creative professional in charge says it's finished. That does not mean that there isn't to be any pressure - there's pressure all the time anyway - but the individual creator always needs to have the last word."
4. It's the team, stupid. "One of the most popular questions is always whether groups are more creative than individuals. My answer: In most cases, it's the team - provided you follow certain rules", says Mr Lasseter. "As a manager, it is my task to abolish hierarchies. It doesn't matter at all who has the idea; that's a very important rule for us. The group must be honest, direct, and endeavour to sincerely help the creative individual. But in the end, nothing that the group says is binding".
5. Fun invokes creativity, not competition. "There is this idea that you put two people, who cannot stand each other, into a room, hoping that all this negative energy leads to a creative result. I disagree. Co-operation, confidence and fun - that is the way", says Mr Lasseter. He emphasises the complex managerial challenge to successfully motivate creative employees, and to create a climate conducive for creativity. "Creative people must believe that all others support them in making a great movie. They need to believe that all people involved understand what they talk about. Creative people are easily bored, moody, a bit difficult to handle. You have to make it fun for them, care for them. Creative people only produce really good work if you creatively challenge them. They have to like what they're working on. They have to be damn proud of the fact that they're a part of a particular project. That is again the task of the manager. Each time, you have to give them creative challenges. That's difficult, but nobody said it is easy to lead creative people."
6. Creative output always reflects the person on top. "Poor managers harm the creative process," as John Lasseter knows from personal experience. After landing his dream job as animator at the Disney Animation Studios in the late seventies, his outspoken individuality and creative extravaganzas quickly made him enemies among mediocre middle managers at Disney. Within a few years, Mr Lasseter became a victim of internal politics and got fired.
Committed to go his own way, Mr Lasseter became one of the founders of Pixar in 1986. Twenty years later, following Pixar's acquisition by The Walt Disney Company, Mr Lasseter returned in triumph as chief creative officer of both animation studios.
"Laughter, being crazy, freaking out, behaving in ridiculous manner are hard work. A manager who spreads his bad mood and who forbids his employees to have fun impairs their creativity, and thus harms the enterprise. I would fire him. Animated movies are not least a bang-hard business. I cannot risk so much money, only because a manager indulging in his bad mood harms my business."
7. Surround yourself with creative people whom you trust. Being an accomplished creative leader, John Lasseter gives some direct advice to junior creative leaders in progress. "Bring only those new members into your creative team, whom you consider to be at least as talented as you. If they also have a pleasant and nice character - even better.
Most managers don't follow this approach, as they are insecure. Insecurity and creativity do not get along with each other well. Most managers surround themselves with yes-men, and in result, the audiences get bad films to see," explains Mr Lasseter.
1. Never come up with just one idea. "Regardless of whether you want to write a book, design a piece of furniture or make an animated movie: At the beginning, don't start with just one idea - it should be three.
"The reason is simple. If a producer comes to me with a proposal for a new project, then usually he has mulled over this particular idea for a very long time. That limits him. My answer always reads: 'Come again when you have three ideas, and I don't mean one good and two bad. I want three really good ideas, of which you cannot decide the best. You must be able to defend all three before me. Then we'll decide which one you'll realise.'
"The problem with creative people is that they often focus their whole attention on one idea. So, right at the beginning of a project, you unnecessarily limit your options. Every creative person should try that out. You will be surprised how this requirement suddenly forces you to think about things you hadn't even considered before. Through this detachment, you suddenly gain new perspectives. And believe me, there are always three good ideas. At least."
2. Remember the first laugh. "A big problem in the creative process is related to the enhancement of your ideas," cautions Mr Lasseter. "Revising, retouching, refining is very important, but it carries a danger.
"If you have a story, a joke, a thought, which you write down, it loses its effect over time. It wears itself out. When you hear a joke for the second time you still laugh heartily, on the third or fourth occasion already less so, and when you hear it the hundredth time, you hate it.
"I say to my authors: 'Take notice of the first laugh, write it down if necessary.' This may at times be bothersome, but it is important. Many times, good things got lost because people could not remember anymore how it felt when they heard the idea for the first time."
3. Quality is a great business plan. Period. "There is a crucial rule: no compromises. No compromises on quality - regardless of production constraints, cost constraints, or a deadline. If you get a better idea, and this means that you have to start again from scratch, then that's what you have to do.
"In any creative industry, quality is the sole business plan that prevails in the long run. Many managers fail to understand that, but the spectators understand it. The process is only finished once the creative professional in charge says it's finished. That does not mean that there isn't to be any pressure - there's pressure all the time anyway - but the individual creator always needs to have the last word."
4. It's the team, stupid. "One of the most popular questions is always whether groups are more creative than individuals. My answer: In most cases, it's the team - provided you follow certain rules", says Mr Lasseter. "As a manager, it is my task to abolish hierarchies. It doesn't matter at all who has the idea; that's a very important rule for us. The group must be honest, direct, and endeavour to sincerely help the creative individual. But in the end, nothing that the group says is binding".
5. Fun invokes creativity, not competition. "There is this idea that you put two people, who cannot stand each other, into a room, hoping that all this negative energy leads to a creative result. I disagree. Co-operation, confidence and fun - that is the way", says Mr Lasseter. He emphasises the complex managerial challenge to successfully motivate creative employees, and to create a climate conducive for creativity. "Creative people must believe that all others support them in making a great movie. They need to believe that all people involved understand what they talk about. Creative people are easily bored, moody, a bit difficult to handle. You have to make it fun for them, care for them. Creative people only produce really good work if you creatively challenge them. They have to like what they're working on. They have to be damn proud of the fact that they're a part of a particular project. That is again the task of the manager. Each time, you have to give them creative challenges. That's difficult, but nobody said it is easy to lead creative people."
6. Creative output always reflects the person on top. "Poor managers harm the creative process," as John Lasseter knows from personal experience. After landing his dream job as animator at the Disney Animation Studios in the late seventies, his outspoken individuality and creative extravaganzas quickly made him enemies among mediocre middle managers at Disney. Within a few years, Mr Lasseter became a victim of internal politics and got fired.
Committed to go his own way, Mr Lasseter became one of the founders of Pixar in 1986. Twenty years later, following Pixar's acquisition by The Walt Disney Company, Mr Lasseter returned in triumph as chief creative officer of both animation studios.
"Laughter, being crazy, freaking out, behaving in ridiculous manner are hard work. A manager who spreads his bad mood and who forbids his employees to have fun impairs their creativity, and thus harms the enterprise. I would fire him. Animated movies are not least a bang-hard business. I cannot risk so much money, only because a manager indulging in his bad mood harms my business."
7. Surround yourself with creative people whom you trust. Being an accomplished creative leader, John Lasseter gives some direct advice to junior creative leaders in progress. "Bring only those new members into your creative team, whom you consider to be at least as talented as you. If they also have a pleasant and nice character - even better.
Most managers don't follow this approach, as they are insecure. Insecurity and creativity do not get along with each other well. Most managers surround themselves with yes-men, and in result, the audiences get bad films to see," explains Mr Lasseter.
Subscribe to:
Posts (Atom)