Gary’s current tutoring subjects are listed at the left. You
can read more about
Gary’s qualifications in specific subjects below.
Illustrator has been a useful tool for me when Vector art has been required. I can help students with the rudimentary levels in this program. However I must say that my career was already over when internet graphics became so important and the use of Illustrator changed into a support platform for the web, which I have no experience or interest in.
I am able to tutor the use of bezier curves, charts and such. It's a wonderful program but I have not used it to the extent that I do Photoshop.
Although I started with Quark and worked with it for many years, the industry I was in moved to InDesign. Because I was already extremely familiar with Photoshop and Acrobat, I had very little downtime learning how InDesign works. I still prefer Quark for its kern pair control ability (I must have set up over 50 fonts for my various clients with boutique kerning pairs), I like InDesign better on all other levels. I have not worked with it recently but it is very much a case of getting back on a bicycle. I am proficient at an advanced level (excluding scripting and GREP) in InDesign. My last assignment was a primarily quality control because I worked for a company that had the art directors doing the bulk of the file creation. It was my job to make sure the clients never complained about our files when we released them to their art departments or their prepress houses.
Photoshop is where I dream. I'm heavily into learning new and better ways to accomplish goals; HDR imaging caught my attention around 2007, and I've been shooting nothing but bracketed RAW images ever since! From the simplest goal of massaging shadow and highlight details in a contrasty subject to full blown, psychedelic, triple processed images that barely resemble the original scene, it's all good. I'm not judgmental at all with what you want to learn. Photoshop is a deeply rewarding program and, coupled with filters from NIK, Topaz, and OnOne, well, you can have a really hard time figuring out when to stop!
But seriously, learning to use your critical eye is equally important as going wild and breaking all the rules, just to see what you might invent!
I was making mechanicals from the '70s through 1990 when I bought my first Mac, got my first freelance client (an insurance megacorp) and tripled my income the first year. Needless to say I was hooked and desktop publishing was part of my 30+yr career even when I concentrated on Photoshop during my favorite years. I was thrilled when InDesign finally came into its own and moved a little sadly from Quark (superb kern pair control--I was obsessed with making the kern pairs better and increasing the number of them for every font I used in the thousands of documents I produced right up through 2012 when I had to give up due to back problems from all those years of sitting. I still can work from home but since telecommuting has yet to really catch on, teaching and training is equally or more interesting to me now, especially if there's enough demand for my services. I am also mostly conversant with Microsoft's Word and especially PowerPoint software, and have done a fair amount of relatively simple work in Excel. I used to work with a program called Deltagraph, which in its day far outstripped what I could do with Illustrator or Excel when it came to making revisable and attractive 2D and 3D charts and graphs.
I have also done some work with Fontographer and am currently learning the basics of Fontlab. I am extremely interested in the capabilities of OpenType and related fonts that allow for all the glyphs and kern pairs that don't exist in typical typeface families.
I've owned Macs and done all my setups and servicing since 1990. I also set up an entire company with over 100 Macs, including installing the network lines and a RAID level 5. I have been asked over the years as a consultant to recommend and purchase software and hardware for three pharmaceutical advertising agencies in NJ, and serviced the systems, trained the users if needed and created a hugely profitable digital imaging center for Torre Lazur McCann Ericksson in Parsippany, NJ, which in its first year netted over $1million with just myself and the manager of the department. I was asked numerous times to join several companies but found that being a consultant fit my needs and income requirements far better. I usually charged at least $75/hr and was often at one company 5-6 days/week doing exciting Photoshop work and maintaining the backup and color management systems ordered at my suggestion.
Failing back health and the dismal economy has cost me a great deal. I am best working from my home (telecommuting on jobs for corporations) or doing work that involves both sitting and standing due the the back problems. Otherwise, my mind is in sound shape and eager to help in any way I can. I do have to set limits to how many hours a week I work, but am flexible depending upon the needs of the client.
The bulk of my education at Pratt Institute, Brooklyn campus was in painting. The first year we followed assignments. After that we were on our own, and brought in our work for critiques whenever we were nearly done or stuck on an image. It was an initially terrifying way to learn, but was exhilarating after I got used to the idea that I was carving out my own path very early on in the process. That allowed me a great deal of autonomy, with eager help whenever I needed it. I worked in oil and beeswax primarily, although used acrylics almost as much. I am hampered with a very bad back now, so I am able only to make large colored pencil works, but I enjoy that process immensely. I am eager to begin at this old age to use water-based colored pencils too, to see what happens. That is what art is to me in any form that i pursue: to see what happens. Of course I also drew and painted from life too during the process, but found the work in my studio more interesting.
I can teach color theory to some extent, but mostly I emphasize light and the color/shape of shadows along with creating realistic glass refraction and metallic reflections. I am not conversant in abstract painting and drawing yet. Oddly though, I am working on an increasingly abstract series of photographs as I manipulate them in 32bit HDR and with the various filter packages from OnOne and Topaz. I also make completely normal looking images when I am in that precious moment my favorite photographer, Minor White, called the "heat"—when my seeing is all consuming and my shooting is next to unconscious...an extension of my heart.
I've been shooting seriously (and for fun) since I was eleven in 1961 and have had a camera with me ever since, if not several. On my several trips to Europe and Great Britain I used a Mamiya 645, my favorite of all film cameras. I also have used my Wista 4x5 film camera in the field for decades until I realized i needed and could not afford a digital back for it. I have also shot with my Zeiss Contax RTS II on location jobs for a communications company, and even lugged an old Burke and James 8x10 around on Cape Cod among other less difficult spots. I had my own b&w darkroom and eventually my own color darkroom until I finally joined the digital age. I still scan my own film with a Hasselbland/Imacon scanner and used to print digitally on fine art paper and canvas on a 48" Epson 9000 series printer. I use an R3000 now and while I miss the big prints, I love the image quality I achieve on the Epson R3000 now. Photography, HDR especially now, has been my lifelong passion.