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.
Click to embiggen on any one of these:
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:
Evergreen in PANTONE Green
Today was a busy time at the Bow & Arrow Press, where I was not only running a four-color broadside for a poetry reading at Emory University, but also running editions of my long-waiting shipping container project. I pulled three sets of prints for the series, and each will be signed in an edition of 27 when they’re dry:
Cosco in Warm Grey 7
Back in 2006/2007 I did a series of prints based on cell towers that looked pleasing to me–usually with a triskelion arrangement, not a triangle of girders, which for some had a lyrical quality, kind of like a tree. One of the best ones was this particular tower, photographed in 2006, called “Cell Tower 05” because it was the fifth tower I cut from copper and printed. I later converted the digital photograph into an Illustrator drawing, in case I wanted to have it cut from plastic or metal in a size larger than I could do by hand:
Well, recently I got a current photo of the same tower, and re-created the artwork to reflect changes to the tower. Here is the new silhouette:
If you’re in Austin, and are curious to see the original, it’s right here (click to embiggen):
Today I did my first GPS drawing in a couple of years. This time I traced—as near as I could—the boundaries of the City of Somerville on my bike. Here are two versions of the results:
The magenta/yellow is the path I took on my bike. The white is the official boundaries of the city. Some of the discrepancies are due to fences, houses, construction, freeways, cliffs, MBTA tracks, GPS errors and water. The base perimeter is 11.9 miles long; my route was 20.2 miles. I learned an important lesson on that 20 mile ride: 24-inch BMX cruisers are great for short commutes, but for long-distance riding they put a bit of strain on your knees.
This image, and more, will be seen at the show “Invested Landscape”, opening at the Nave Gallery on September 7th.
This was something that had been in the back of my mind for a while, just a lark, just something to play with. I thought I’d cruise through Google Earth and take screenshots of various cloverleaves along the interstates in the area. Funny thing: there aren’t as many traditional 4-lobed cloverleaf interchanges as you’d expect, a lot of them are more in an H-pattern of on/off ramps with controlled intersections. I suppose that’s a little cheaper than graded, circular ramps allowing nonstop interchange. At any rate, I started on I-95 around Boston and got twenty cloverleaves as a start, including this lovely one from right at the Delaware border in Maryland:
Look at that! Almost as perfect a circle as you’re gonna get with aggregate and asphalt on actual terrain. Trés magnifique!
At any rate, I got twenty screenshots and then tweaked them to 1000 px by 1000 px, with the center of the cloverleaf as close to the center of the square as possible. I figured it would be pretty cool, but I was surprised by how cool:
That’s pretty sexy. Then I normalized the levels:
Oh, yeah. That’s nice. So—I hope you appreciate these as much as I do. I’ll probably be doing more in the near future.
Due to a new project I started last week, I realized I needed to do some tweaking on the transparencies of the 20-layer composite videos of the MBTA stations I did a while back. So I’ve re-rendered the videos and reposted them to Vimeo. Basically this just a quick notification.
I did these a while back, but recently put them up at Boston Coasters, and figured I’d post them here for funsies.
Here are the “traditional” icosacomposites I shot on Friday. More of the process of shooting these can be found here.
While preparing the Downtown Crossing icosacomposite I discovered that the camera was focusing on the people close to me rather than the subway trains, so this one has a more dreamy feel to it.
Here are the raw versions of the Park Street Icosacomposite Intervals. These are simple composited in time, with no adjustment for camera drift or alignment.