Category Archives: Art (mine)

My Family Photos Project: Notes on Reconstructing Three Generations of Family Photos

My mother, with whom I currently live, is getting older, and less well. Her enormous collection of family photos, taken mainly by her and her father, recording the lives of, basically, three generations, in England and Canada, is one of her most precious assets. (Technically, including a couple of pictures of my great-grandparents, and even great-great-grandparents, and a couple of pictures of my cousins’ kids, there are six generations represented in the collection.) To avoid family squabbles when the inevitable happens, I decided three months ago to digitalize the collection, so the pictures could be readily shared among family members. I had ready access to the original photos, and owned an iPhone and  iPad, with which it is now possible to accomplish such a job at virtually no extra cost (I had to purchase the photo scanner app, Pic Scanner, that cost all of $2.99)–unless time is translated into dollars.

When I started this project, I wanted simply to get the original photos into digital form. I had no thought of tinkering with the photos in any way; however, for previous projects, I’ve exploited the graphics capabilities of my iPad, acquiring a fairly good knowledge of these capabilities as I went along, and, not long into this family photo project, originally just for pragmatic reasons, I started digitally enhancing, or modifying, some of the old family photos. Later into the project, I made further modifications for my pleasure and amusement–and, I hope, for the pleasure and amusement of those who will see these images.

This blog post comprises a small sample of the finished digitalized photos, with notes about my process of making any modifications that were made–and, in some cases, not making any modifications, because the original photos were wonderful as they were. Besides being for interested family members, who may notice that several pictures in their collection of digitalized family album photos aren’t quite as they remember, this post may serve as an inspiration to others thinking of undertaking similar family album projects. There’s much more that can be done with the photos than just basic scanning. This post also serves to explain, to some extent, what I’ve been doing with my free time in the past few months, instead of writing the blog posts that used to appear here regularly, every couple of weeks. (My mother’s needs also have been greater lately, and have required an increased amount of my ‘free’ time.)



After digitalizing all the photos in my mother’s photo albums, and after making many of the enhancements that I would make–including, in some cases, adding colour–to certain photos in the collection, I found this photo, delicately painted with watercolours, amid an assortment of small, loose, photos from my mother’s youth in her native England, in a crumpled plastic bag at the back of a cupboard in a now unused room upstairs. These precious photos could easily have been lost forever if I hadn’t found them when I did.

The image is of my mother, at about age two, with her childhood pet dog. It probably was my mother who painted this picture, when she was still a child, a few years older than she was in this picture. However, although I don’t remember it, if I did get my hands on this picture when I was a kid, it could have been me who painted it, since I enjoyed colouring as a kid, and was good at it (even winning some colouring contests, for which I earned my first small ‘paycheques’). Or it may have been someone else entirely …

The inclination to add colour to B&W photos probably has been common for a long time, even long before there was such as thing as colour photography. Now that colour photography is our norm, the inclination is probably even more common. With digital photography, and the various graphics tools that cost next to nothing that can be installed on tablets and SmartPhones, enhancing B&W photos with colour has become extremely easy. Sometimes colour does enhance an old B&W photo–although, in other cases, it doesn’t. Sometimes, it’s a question of taste.

Pictures I Took Myself

The following two images started with B&W photos I myself took with my first-ever camera, when I was about seven years old and we lived on the beachfront at Crescent Beach (a beach town near Vancouver). The camera was a cheap plastic camera, that I must have received as a gift from my parents, for which the cost of a roll of film and the developing of the film probably well-exceeded the cost of the camera. Taking a decent picture with that camera was extremely iffy. I remember how disappointed I was when I got the pictures I had taken with it back from developing: most were just a blur.  (I went through only two rolls of film with that camera.) My mother did, however, save in her family album from that era the handful of pictures I took with that camera that were at all worth saving, including these two pictures–one of my youngest sister sitting on a log on the beach and the other of my mother standing beside a breakwater.

Because the original prints were somewhat out of focus (these were the good ones in the group), and because I had taken the original pictures myself, I felt no qualms about doing some basic editing, just recropping the pictures and doing some simple colour enhancement using colour filters from the app, Colorburn. (The app is American, hence the spelling.)  These were the first photos in this massive family photo project with which I did more than just scan.


Now I get to feel better about my first venture into photography than I did when, as a young kid, I pulled those very disappointing B&W prints out of the photo envelope at the drugstore. (My mother very much likes the subtly colourized version of herself on the beach.)

Pictures Taken by My Mother

When I next started tinkering with a few of the family photos taken by my mother, I had to think twice about whether I was crossing a line that I shouldn’t be crossing. My mother has, by now, seen these colourized pictures, and says that–with one notable exception–she likes the pictures.

I chose to try colour enhancement with the photo immediately below because it is an important photo in terms of our family record, yet the original was somewhat out of focus, and also needed more brightness to make the subjects stand out. The subjects of the photo include my father, in the centre, flanked by his mother (or my grandmother) and her identical twin sister (or my great-aunt), the twins’ mother (or my great-grandmother) sitting at the front, me on my father’s shoulders, and my younger sister, then a new baby, on our great-grandmother’s lap. The setting is, I think, the  large back yard of my grandmother’s house in North Vancouver–where she kept a goat, for milk. (Even back then, this was odd in North Vancouver.)

After much trial and error, I came across a wondrous single photo filter, Wonka, within the camera app, Camera Awesome, that did all the amazing colourizing that is evident in the before and after images. This AWESOME filter adds a cloudy blue sky effect in the upper reaches, greens and browns for vegetation in the background, and highlights for central figures, plus a little red trim along the bottom that works beautifully in this picture with the trim on the bottom of my great-grandmother’s dress, all in one fell swoop! I couldn’t have done a better job colourizing this photo if I’d handpainted it. This miraculous filter alone makes the app worth purchasing. (I already had it on my iPad before starting this family album project.)

To give readers some sense of the sensitivity to form of the Wonka filter, I also used it to colourize the below image, of me again perched on the shoulders of my father. The filter apparently recognized, through shape and location cues, that there are no trees or lawn in this photo, and omitted most of the green part of the filter.


Even in basic B&W, the below photo of my father with me again perched on his shoulders walking in the woods, another taken by my mother, is beautiful. It was my attraction to this lovely photograph, and what it represents about my early relationship with my father–and the early relationships of both of us with my mother, the photographer–that led me to play around with it. I created about a dozen variations, only two of which, plus the original, I have included below. For the image in the centre, I used just basic colour filters. For the image on the right, I used the app, Brushstroke, that offers a wide and very interesting selection of painting effects and colour palettes.

I chose to tinker with the below B&W photo taken by my mother because it was an interesting photo of me and two of my sisters (I’m on the right, feigning surprise, I think) yet I found the lighting qualities of the original very unsatisfying. After playing around with some filters, I very much like what I ended up with–although my mother says my version is “too bright.”  Sometimes, it is a matter of taste.


On the whole, adding some enhancements to my mother’s photographs, with her providing input, proved to be a lovely collaboration between me and my mother.


When scanning photos using the ‘snapshot method’ that is the foundation of smartphone scanning apps like the one I used for this project, Pic Scanner, you’re likely to sometimes get distortion effects through holding the ‘camera’ (i.e., phone) at the wrong angle. When you’re getting towards the end of a batch of more that a hundred photos you’re trying to scan in one morning, before heading off to work, getting some distortion effects is almost inevitable. In both of the below images there is some distortion, although the distortion is far more pronounced–and more interesting–in the image on the right. (The image on the left is closer to the original although, in that one, there’s still a strange elongation of the lower limbs of my father and sister.)

The effect of the looming totem pole was so interesting that I took the time to add some colour to this image using Colorburn. (I hope me playing around with this totem pole in this way doesn’t offend anyone. It’s not my intention.) The use of just a couple of colours for the entire image, repeated for the totem and the human subjects, suggests, to me, the people in the image are part of the totem pole.



As I previously mentioned, after digitalizing all of the photos in the many family albums, and tinkering with a few, and thinking I was finally DONE, I came across a stray crumpled plastic bag containing many more small photos from my mother’s youth in England. There were at least fifty photos in this batch.

Many of these small photos (each only two inches by three inches) were extremely damaged, although several were, despite the damage, quite lovely. The salvage job required that I become adept at using the photo-editing app, Snapseed (another app I already had downloaded, although used infrequently, prior to this project).  This iPad app, that again costs next to nothing, is exceptionally good, enabling anyone with some extra time and some manual dexterity to do the kind of photo-editing that previously would have had to be done by professionals, using expensive equipment.

Before coming across these old pictures, some of which are close to a hundred years old, I had no idea how attractive my mother’s mother (my English grandmother) was as a young woman. I also had no idea what an excellent photographer my English grandfather was. (He never finished high school, but made a great success as a wine merchant in London after serving in WW I. He was the one in that generation of the family who took most of the family photos.) His forte was composition, with many of his photos resembling still-life paintings.

Because most of these photos were so beat up when I found them, and serious imperfections remained in several of them even after my editing with Snapseed, I again took the liberty of doing some cosmetic tinkering.

The first example is of my mother as a toddler, with her mother behind her, apparently helping to ensure the toddler remains erect, wading in shallow water on the shore. This picture seemed well-suited to a vignette treatment–and a little colour.


I chose to tinker with the below photo, of my grandmother lying on the sand with grass in the background, taken by my grandfather on their honeymoon, because the sky in the original photo was very blotchy, even after my preliminary editing. I used a painting effect for my grandfather’s painterly photo available on Brushstroke, and a blue and gold colour filter also available on Brushstroke. Finally, I went over the sky using an airbrush effect on  ArtStudio, to get rid of the last of those blotches.


The below two symmetrical images, of my grandfather smoking a pipe and my grandmother holding a coat, wading in water, originally were separate, but I joined them, using the app Pic Stitch.  After that, I added some colour, using colour filters.


I wonder what my grandfather, in particular, who seemed to be quite the artist at heart, would think of this picture of him and his then-new bride dipping their feet in some colour. (An ordinary blue would have been too prosaic for the kind of effect I wanted to capture here. I wanted my youthful grandparents to be dipping their feet in some real COLOUR.)


Some photos just shouldn’t be messed with, other than, maybe, a little tuning, and the following photo is one of them. I love this picture of my grandmother, taken when she was about twenty years old, by my grandfather. Her face and expression in this picture remind me of a young Kate Winslet. The composition of this photo is beautiful.

The below photo, another taken by my grandfather, is of my mother when she was about two years old, against a bucolic country backdrop.  (When my mother recently saw this picture, she was reminded of all the times when she was a young child that she took off on her own to explore her environs, leaving her parents very worried.)

All I did to this picture was sharpen up the focus in certain areas using Snapseed, brighten up the foreground image of child, again using Snapseed, and patch up the sky, that was quite damaged in the original photo, again using Snapseed and ArtStudio. My grandfather deserves the real credit for this beautiful photo.





In the course of my family photo album project, while I added colour to several old B&W photos, I never took colour away from any of the hundreds of colour photos with which I worked. It’s a technique that could be worth exploring for this kind of project.

I’ve included the above images of tomatoes here to illustrate one use of this technique. The images started with a colour photo I took of three of the varied tomatoes I grew in our garden a few years ago, that I tweaked with ArtStudio to derive the image on the left. Then I took the colour away, and superimposed a photo of clouds in the sky,  to derive the second image of a “tomato-being” floating in the clouds. (The image was to illustrate a post about cloud computing in my first, novice, blog, “The Tomato Diaries.” Each post included an image that incorporated tomatoes.) No, the “tomato-being” is not a relative. I’m not descended from inhabitants of an intergalactic vegetable patch–or, for that matter, from a terrestrial one.



With digital graphics techniques, and the current ready access of most of us to good, and inexpensive, graphics tools, there really are no limits (other than the ethical kind) in how far one can take the photos in the digital family album.

On Pi Day, last week, I created the below image, starting with a simple B&W photo my mother took of me on a teeter-totter. To create this image, along with various apps I’ve already mentioned in this post, I used the app, Fragment, to get the multiple images of the girl (i.e., me) that frame the central image.

The edited image suggests to me learning the basics of geometry and physics through physical activity. It’s also a happy picture, with the suggestion that the related learning experiences are enjoyable.

On a related theme, one of my sisters has less pleasant memories of teeter-totters. I showed her the below photo, without any of its graphic embellishments, when she came for a visit recently, when I was in the midst of my family album project,  and the words in the speech bubble are almost word-for-word what she said. (She thinks this ‘cartoon’ is amusing, so I’m taking the liberty of sharing it.) To get the ‘cartoon’ effects, I used the app, Halftone.



After three months, my family album project is finally complete.

It’s been a very worthwhile project, and I encourage anyone who is thinking of attempting such a project to go for it.

It’s good that I did this while my mother is still with us, since she’s been able to pass on her knowledge about people and places in the photos–that I recorded in the Comments section of Dropbox, the app that I used to share the photos. It’s a process that I think she’s enjoyed, as well.

Enhancing some of the photos in the vast collection has proved to be a lovely collaboration not only between me and my mother, but also between me and my English grandfather, who passed on his love of photography to his daughter.

Now it’s time for me to celebrate! That’s me, below, on my fourth birthday, many years ago, before colour photography–but colourized with Colorburn.  (My next birthday is in just a few days.)



University ABCs: Let’s Fix This Mess, Canada

This is a modified version of a post I posted on my blog about two years ago, before I joined Twitter.  It’s something I thought some of my Twitter followers–especially those concerned about post-secondary education–might find interesting.  Also, it provides some clues about the graphics featuring strings of letters that I include with many of my Tweets.   Also, I have another reason for ‘reposting’ this now, that  I’ll get to at the end of the piece.  (The original version of this post was in response to a special Globe and Mail series about post-secondary education that ran in the fall, almost two years ago.  I’ve taken out references to that series for this modified version–although the graphics are unchanged.  If you’re interested in reading the original version, it can be found here.)

 . . . . . . . . . . . . .

The uppermost of the two above pictures is a god-awful mess, wouldn’t you agree?  That’s what happens when you’re tired after a long day at work, trying to produce a graphic for a blog post you want to get up as soon as possible, using graphics tools whose versatility can sometimes be more of a hindrance than a help.  I was ready to delete the picture from my iPad; but, when I looked at it beside the original version, essentially the picture below it (the original didn’t have the oval frame around the lettering), and realized that the two pictures together fit in with what I planned to write about in my post, it seemed worth preserving.

A big problem with so much recent commentary about universities is that the issue of underlying philosophical change in recent decades within Western society–including within our universities and towards universities, from an outside perspective–has been overlooked.  In this period of philosophical transition, there are multiple basic philosophical perspectives towards universities, which differentially affect attitudes towards particular issues.  These include attitudes about what should be taught, to whom, by whom, the methods used to teach, and even how university education should be financed.  Beneath the surface, to those who have given some thought to the issue of philosophical change as it relates to our universities, some coherence may be discerned among the diverse views about our universities.  But, on the surface, this commentary, taken as a whole, is likely to appear to many, if not most, to be an incoherent jumble–and not very useful in helping to further constructive change in our universities.

There are now basically three different philosophical perspectives from which our universities, and aspects thereof, may be viewed.  These three perspectives I’ll call here A, B, and C.  A book chapter could be written about each of these perspectives; but, since this is just a blog post, I’ll stick to the basics.

The A perspective is the traditional elitist view that predominated in Western universities until the mid-20th Century.  Until that time, only a small proportion of the population attended universities, and attendees were almost invariably white males, and from relatively prosperous families.  In the second half of the 20th Century, significantly greater diversity among students, and also ultimately among the professoriate, led to a second basic perspective: perspective B.  This perspective may be summed up as being that of the “academic left”.  Although those from the B camp favour a more inclusive approach to university education than those of the A camp, it should be emphasized that members of the B camp do not question the basic activities conducted within universities.  Members of both groups are likely to support traditional university policies and procedures, such as academic freedom (including freedom from interference from those outside universities), academic tenure (or guaranteed jobs for life) for senior professors, the notion of the all-knowing professor as the source of legitimate knowledge for students, and the emphasis on research in the evaluation of professors with little weight given to teaching ability.

By the late 1970s, the basic dualistic and hierarchical framework of Western metaphysics, that had supported Western universities for so long, was crumbling.  Both perspectives A and B were now being challenged–mostly from outside of universities.  Yet it is worth noting here that, by now, there were many more adults studying in universities than there had been in the past, some of whom, especially those studying at the graduate level, already had achieved mid-career status in their professions, who personally brought the ‘outside’ perspective into our universities.  (I was one such student when I was doing graduate work in education.)  This third basic perspective, or perspective C, is the ‘postmodern’ perspective–with ‘postmodern’ defined essentially as it is defined by Lyotard in The Postmodern Condition.  (You can look it up, if you’re interested.)

If, as I believe is the case, the majority of Canadians now possess the basic C perspective (this distinguishes Canada from the United States) a reasonable reevaluation of our universities has to start explicitly from that position.  This doesn’t rule out the possibility of certain institutions and programs catering to those who possess minority A and B perspectives (a Christian-based university, like Trinity Western University,  generally falls into the A category);  but it does suggest that at least the greater part of funding for such institutions and programs will have to come from somewhere other than general tax revenue.

It would seem to be enormously helpful if commentators on our universities would preface their commentary with some reference to philosophical change in our universities. Better yet, it would be fantastic if influential commentators (like the Globe and Mail newspaper) publicly endorsed a postmodern position.  That could be the stimulus Canadians need to really get down to the serious business of reevaluating our universities, and reconstructing them within a non-dualistic, non-hierarchical, framework. But I’m not optimistic.  Generally speaking, our influential commentators seems too beholding to those who support the A perspective–or who at least who pretend to support that perspective–for any such thing to happen.

Which brings me to my final point here.  I’d love to be able to devote more time to this kind of work.  But, for that, I need MONEY.  Is there perhaps someone out there reading this who has more money than they need who might be able to help me with this?  Or perhaps who knows someone else with money who might be sympathetic to my views?  It probably can’t hurt to ask–although I could loose some of my Twitter followers by being so blunt . . . Oh, hell,  I’ll post this anyway.


UART (in Canada, 2014): Advice for Canadians Thinking of Going to Art School


My general advice to Canadians thinking of pursuing studies in the fine and applied arts at the postsecondary level is that they should attend a reputable, practical oriented, art college. If they want to obtain a university degree, they should do this separately, at a university that offers a full range of university programs, before or after their art studies. At such institutions, they will have the option of taking courses in a variety of subject areas and, if they are so inclined, of majoring in something other than art.

Apart from possibly taking some individual, practical, courses taught by part-time instructors who work primarily outside of these institutions, I would suggest steering clear of those art schools that offer university degrees. This includes even those venerable old Canadian art schools that, in the past decade, have become accredited niche universities–including, in Vancouver, the Emily Carr University of Art and Design (formerly the Emily Carr Institute of Art and Design and, before that, the Vancouver School of Art) and, in Toronto, where I lived for many years, OCAD University (formerly the Ontario College of Art and Design).

I strongly disagree with those institutions having been turned into universities, and I regret not having spoken out about the transition when it was occurring. I hesitated mainly because I then still considered Emily Carr, at least, as a potential employer, and didn’t want to alienate anyone associated with the institution. Also, I then didn’t have a blog in which I could readily express my views. I’m speaking out now in part because I recently applied for an administrative job at a relatively new, very interesting, private art college here in Vancouver, that DOESN’T aspire to be a university, so speaking my mind may now help me more than hurt me professionally. Also, I now have this blog.

Lest anyone reading this blog post suspects that the views I’m expressing here about Canadian art schools being turned into universities are not my legitimate views, and are merely what I think a particular potential, non-university, employer might want to hear, these views are fundamentally consistent with the views I have earlier expressed in this blog about the humanities in Canadian universities today and about the ongoing bid by the local private Christian university, Trinity Western University, to have its own law school. Also, even if I don’t get that job I’m after (I should know within a couple of weeks), I’ll leave this post up. It’s high time I came clean.

I’m not rehashing here everything I’ve said earlier in this blog about the ongoing philosophical transition in Canadian post-secondary education in recent decades, and about the problems experienced by many Canadian university students in recent decades related to philosophical intransigence and inconsistencies in our universities. (If you are interested in learning more about my views in this regard, you may wish to check out some of my earlier posts in the UABCs category of posts.) But I will point out that artists, and those with a good knowledge of the fine arts, seem to be among those who are most sensitive to these issues, and most negatively impacted.

For example, as part of my graduate work in Education, I took a course called “Aesthetics and Education,” in which most of the students were artists and art educators. (In the latter group, several had been employed as primary or secondary school teachers for many years.) Virtually all of the students in that class were very familiar with postmodernism in the Arts, and themselves possessed postmodern perspectives. Unfortunately, the professor for the class (a failed classical pianist, nearing retirement age) was far less familiar, and most of the students balked at what she taught and her requirements for student projects. The one student in the class who, in one candid moment, out of earshot of the professor, admitted he knew nothing about art was, in that class, the “star pupil.”

It’s bizarre that some of our most prominent art schools have made the move to become universities at this critical juncture, when they should have stayed basically the way they were, and set an example for our universities. This move wasn’t made in the interests of Canadian art students–or of industries that hire art school graduates. It seems to have been made mainly because a university degree is likely to lure in certain naive foreign students with little knowledge of Canada and Canadian education, but with ample money that can help sustain these institutions. But sustain what?

What in my view was a very serious mistake does, however, seem to bode  well for other Canadian art schools (like the private art college to which I recently offered my professional services) that stick to a more practical approach, consistent with a contemporary Canadian outlook.

Bluebells Blossoming in 5 Pics: What CAN’T be Done With Twitter’s New Picture Posting Feature

I earlier tried posting the following 4 pictures of bluebells squeezing up along the side of our house using the new Twitter picture posting feature that allows Twitter users to post up to 4 pictures in one Tweet.  Unfortunately, I ran into a problem with, basically speaking, aspect ratio.

Before my experiment, I’d seen some good examples of 4 rectangular pictures displayed in a 2 x 2 grid in my Twitter feed and thought my four matching pictures, taken at intervals over the past two months, would suit that format.  (I took the pictures thinking they could be the basis of some animation. Originally, I wasn’t planning to publicly display just these pictures.) The basic problem was I didn’t realize all rectangular pictures that preview in Twitter feed, whether single pictures or part of multi-picture groups, are displayed in a 2 to 1 aspect ratio.  Only when you click on the pictures do you see pictures that don’t actually have a 2 to 1 aspect ratio in full.  (Squares seem to be an exception. I’ve seen some 4-picture groups in preview mode consisting of square pictures.)  In preview mode, not only were the tops and bottoms of my pictures lopped off, but also they were lopped off unequally.  Pictures on Twitter, whether single pictures or part of multi-picture groups, are shifted upward when they are fit into the new frame(s).

I could have dealt with the distortion of the pictures in preview mode if, when the 4 pictures were opened up, they all appeared together.  But this doesn’t happen with the new feature.  The pictures appear only individually–so my intended effect of plants maturing over time was essentially lost.

I’m posting those pictures again here–and have added one final closeup picture at the end.  This still isn’t exactly what I wanted.  (I’m still trying to figure out side-by-side pictures in WordPress, to achieve my 2 x 2 grid. It’s not as easy as one would think. But many things aren’t . . . )  However, it is, I think, an improvement over the Twitter version–even without the closeup, that turned out well, if I do say so myself.

As I’ve learned from my experiment, if you want complete pictures to appear in the preview mode in Twitter feed, whether you are posting a single picture or multiple pictures, use a 2 to 1 aspect ratio for the original pictures (or maybe stick with squares). However, the distortion that occurs when pictures that don’t have that aspect ratio are fit into those rectangles in preview mode can sometimes work to good effect, to achieve surprise when you click on the pictures and open them up, or intrigue that compels people to click–if you know what you’re doing.



January 19


February 2


March 4

March 29

March 29


The Real Vancouver Bicycle Wars?: Urban Bicycles v. Two-Wheeled Toys for Big Boys


How about mandatory bicycle registration–including mandatory liability insurance–just for the more powerful, faster, bikes that are becoming increasingly prevalent, and increasingly problematic, in Vancouver? 

A targeted bicycle registration program aimed at only faster, racing-style, bikes could serve as an indirect incentive for purchasing slower urban bicycles, that are much safer in the city. This also could minimize, if not entirely eliminate, the problem that occurred when Toronto tried bicycle registration a few years ago of children being found guilty of breaking the law when they forgot to, or were unable to, pay registration fees: kids generally ride less powerful bikes, so at least most of them wouldn’t have to register their bikes.

The administrative costs for such a program would be offset by safer streets and probably, ultimately, many more people, from many more demographic groups than is now the case, cycling in our city.

Just an idea.

(I created this picture using the ArtStudio app on my iPad, starting with just two photos of bikes from on-line catalogues. I think it turned out pretty well, if I do say so myself.)

ACH-U: Out With the Old & In With the New


For readers who may have missed it, I’m repeating some information here that I published a couple of weeks ago as a new Page for this blog, “Changes Made to Blog in August of 2013.”  I’m essentially just pasting that information here, with a few minor additions.  If you’ve already read the Page, you might want to just admire the graphic and then move on.


A year after starting this blog, and after almost thirty posts, I’m making some changes.

The basic three-part structure I used through the past year (UABCs, A Few of My Favourite Things, and Me) isn’t adequate for the variety of subjects about which I’ve been writing.  After doing some recategorizing of my posts, I’ve ended up with ten categories.  (These categories are displayed at the bottom of the column on the right, if you’re on a computer or a tablet, or at the bottom of the page, if you’re on a phone.)

The UABCs category–posts about post-secondary education, especially Canadian universities–is still a key category.  Those posts are readily identified by a preceding graphic in the basic format that I’ve used for the above “Ach-U” graphic, with letters and black bars at the top and bottom.  (Other than to illustrate how to identify the UABCs posts, that graphic doesn’t really belong here: I’ll be using a modified version in an upcoming post that will be about post-secondary education.)  The other two categories from my original categorization system are gone, and several new categories have been added.  I’ll likely add even more categories in the future, as I publish more posts.

In a couple of the posts I published in the past year, I allude to my old categorization system.  For example, in a post about my favourite local pizzas, I state that the post is the first post in this blog–with others presumably to follow–concerning “A Few of My Favourite Things.”  I’m not editing those posts because of the changes I’m now making.  If any future readers of those posts wonder what I was talking about, and are sufficiently curious, this note is available for them.

Another change is that I’ve changed the banner picture for my blog, to be consistent with the change in categories and also because I found the three-part collage I’d been using as the banner through the past year was too fussy, particularly in combination with all the graphics and photos I’ve been including in the blog.  I’ve decided to use as the blog’s banner a simple photograph I took of a kite flying over the beach at Crescent Beach, a small beach community near Vancouver where our family lived for a couple of years when I was a kid, and that I visit each summer.