It’s starting to coalesce around the basic letterforms, although “Multilayered” is fuzzier than the other words because there’s a much larger spread of word lengths between different handwriting styles.
Finally had the time to go sign and number the small shipping container prints. This series is all 13″ x 6.25″, printed in black on Lettra 220# fluorescent white paper. There are 40 members in the edition, and I’m reserving numbers 1-13 as complete sets.
By now everyone knows I’m interested in pixels and gridding visual information. Well, it goes farther than just a flat plane. Using the same pixel layout as I did for my cross-stitch pattern, I have been playing around with using pixels in space, of “voxels”, short for “volume element. (“Pixel” is short for “picture element”, just in case you were wondering. Here, for your enjoyment, is the Mississippi-Missouri River, rendered in cubes and approximating the relative elevations of the various tributaries:
The Appalachian tributaries are a little foreshortened here, but they’re quite a bit lower than the Rocky Mountain tributaries. This is done building up layer upon layer of cubes and gluing them in place. I’m also trying a version where the underlayers are not built up, and the riverbeds will simply be suspended in space at their relative height. I’ve been having some technical difficulties, but nothing a little free time wouldn’t cure.
So I figured some people might be intrigued to see where this went. Well, it went right here:
This is the Mississippi-Missouri River basin, done inverted with medium-gray floss for the background. Of course, I realized I chose the most difficult way of rendering something in needlepoint, so I will probably re-do the Mississippi in positive and then continue on the four other river basins I’ve pixellated, the Congo, the Nile, the Amazon and the Yangtze.
At long last, the skygrid is done. A year ago, I started the process to capture an image of the zenith sky every two minutes from 4 in the morning until 9 at night. Today the Sun crossed back into the sky of the Northern Hemisphere, and the camera on my porch took the last set of photos of the zenith. Here is the color spread of the equinoctal day:
And here is the final yearly grid, 495 x 365, or 180,675 separate squares (click to embiggen):
I will be processing another time-lapse movie of the Winter Half of the skygrid when I have time. Until then, check out the Summer Half.
So, I’m still working through the kinks of another concept based on my pixel rivers idea of a couple months back, but I started playing around with rendering them in another pixel-based medium, cross-stitch needlepoint. So far, I have about an eighth of the Mississippi done:
I’m abstracting the shape of the river into a branching network, and filling in the area around it with grey thread. I may fill the river in with white, or with a color, or I may leave it as bare aida cloth. I haven’t quite decided yet, but I have plenty of time to figure that out. Of course, as I get into the more complex portion of the river basin, things will go a lot faster, since I won’t have to fill in as much grey.
I’m certain that everyone was as curious as I was to see what would happen if I ran all the random walks in the Random Sketchbook together as a single path. Well, good news! I put them all in Photoshop and joined them end-end-end as best as I could, and came up with one of several versions of the continuous pathway. (Actually, one of 3.96 x 10^28 pathways, assuming a coin-toss between joining either the start point or the end point to the free end of the previous pathway.) How exciting!
Actually, I think it’s pretty cool, and it was fun seeing exactly how this path would develop. I marked the start point and end point with a red dot and an arrow. It’s here below, click to embiggen:
I liked the original three shipping container prints so much I had to do four more. There was a brief delay when I accidentally ordered plates from Boxcar at half the size of the original three, but that was quickly corrected and I got the proper size plates soon enough. The delay was fortuitous, because that allowed the PANTONE mixing guide I had ordered for the Bow & Arrow Press to arrive, and I was able to mix PANTONE 540 for the NYK container print. I also went ahead and ordered the original three in half-size, which means I will be able to do a 13″ x 5″ edition as well as the present 20″ x 9″ edition.
The editions are numbered to 27. I will be selling numbers 1-13 in sets of seven, and numbers 14-27 individually. I haven’t figured out a price yet, but will post that soon.
Here are the new prints, freshly numbered and signed: