Practice June 12 : mega-molecule arrangment

Preparation for substrarte addition.

Feeling the theme was getting lost in 'surface' layers of creation, I feel the need to reassert the emphasis on cosmic substrate and to keep the surfaces in context. This mega-molecule arrangement is informed by incomplete NASA type photo-surveys of other planets as well as by subatomic and molecular structures. This also deviates away from the block arrangement we are accustomed to with traditional tessellated tile arrangements. The 3 D tones will be achieved with the tinted matt, gloss and satin technique.

Visual reference

Practice June 10 : Textures / tones

Various methods of creating textures were exlored as can be seen above including paint drip and relief sculpting.

Practice June 8 : Textures from reference

Various reference used to inform textures. The graphic water version are directly useful.

Artist ref: Max Gimblett

For energetic gestures it would be hard to go past Max Gimblett. I will be looking hard at his work to see what can be learned in terms of creating gestures that convey great and explosive energy to include in the current piece Compound I.
http://www.gowlangsfordgallery.co.nz/mygallery/

Many of the pieces appeal to me, and bear a similarility in terms of preoccupation with geometry, as combined with spontaneous gestures.

Current works: http://www.maxgimblett.com/current_paintings.html

The quarterfoil form seems to perform the role for Max what the cube does for me. Both being made within a circle or sphere.

Please note: image publishing precednt the publishing of this artist work on a blog, but lkinks that take you to a gallery site. Fair enough.

Finished example: Tinted overlays

This example utilizes the undesirable yellowing effect from UV inherent in polyurethane. Poured on the right, rolled on the left and absent on the bottom. This is a satisfactoy result which teeters at the limit of subtlety.

Practice : June 5 : Achiving tri-tones

Texture difference: The very success of tessellated images lies in the difference between the 3 tone that create to 3D effect. In this example, I am attempting to use 3 variations of two textures uses in order to create the 3 tones. I suspect 3 overlay tones will be required as well.
Learning: I have found the subletylimit to for creating 3 tones.

Content difference: Here I intend to discover to what extent an effective 3D effect can be achieved by changing content alone.

Tinted clear finish: This example acheives an acceptable 3 tone effect by way using polyeuretjane which has a natural tendancy to yellow poured onto the right segment. The left segment has a thin rolled on layer of poly, and the botton segment has a tint of pearl essence 'straw' to attani a dofferent finish.

Wattyl Sponsors product

A request for free product for the purposes of creating artwork was well received by Wattyl wholesaler suppliers. The product, Pearl Essence, is in slow decline with some niche uses emerging. The sponsor is keen to explore its creative potential. The agreement provides 4 litres of base paint each quarter, and a trade outlet has agreed to supply tints to my specification. Artwork from my stock can be supplied for their use while waiting for exhibitions. Great interest was shown in my current project Compound I, and its deeper themes grasped surprisingly quickly. the very compound nature of the products provides an ideal showcase for the product which may enjoy a new relevance in creative spheres. A good blend of commercial and artistic imperatives.
Learning: This was an exercise in quick lateral thinking, the challenge being how to get a maximum range of colours from 4 litres, in meaningful amounts in a way that doesn't hinder the staff accustomed to selling in bulk. 8 base colours were chosen, which can be re tinted lighter and darker with black and white tint effectively giving me 24 tints to play with.

Practice June 4 : Making

This image is important reference point for seeing what role in texture (satin, matt, gloss) could make in order to produce a 3D illusion, as opposed to definite tonal changes.

Content change: In this example, I wish to explore the possibility for creating 3 tonal changes by altering contents alone. I suspect, that tinted overlays may be required. However this observation is made while the piece is observed in isolation. When view alongside the others in other words by virtue of apriori information - that derived from a memory based model created from what is already known.

Noticing: At each stage I am playing with the materials and filing images for future use: textures, shapes and methods and drip compositions.

Surface difference: Satin has finish has been applied to this piece, in order to test for reflective surface difference. It needs to be mounted with the others in order to be appreciated fully.

Thematic ref: Hyperbolic Geometry

http://www.ted.com/talks/margaret_wertheim_crochets_the_coral_reef.html

Her artists are responding to global warming issues and in particular, the degradation of coral reefs. Their response takes the form of crocheting corals as this is the only known way to model hyperbolic mathematics - it evades even the most sophisticated computer modeling programmes. Ain't nature wonderful.

Practice June 1: Laser cutting

Getting diamonds cut has been a long and arduous process that involved calculating at which point one should quit a process in order to meet a deadline (assessment) or continue you in order to reach the goal at any cost. Making these boards on a bed saw would result in inaccuracies which may or may not have been fixable. However, there is no disputing the absolute accuracy of the laser cutting method - exact clones of each other. It is a reminder that one must be realistic and rely on a miracle!! In this case a last minute gift form a friend saved the day, and unblocked this project. Even then they were cut wrongly, requiring a further slice to be taken off. The amount of time taken to fix the problem was equivalent to the time it would have taken to do a best guess job in the first place. Proving that time could be found after all.
There is on doubt if funds allow this is the best method. All achieved in one pass in a few minutes. A further advantage is that the file is kept by the supplier for future use - and a superior result.

Practice: May 28

Observations: This accidental placement opened the possibility for overlapping and different scales.

Tone difference: This exercise explores the subtlety of tonal difference created by different stroke direction to see if it is sufficient to created the desired 3D effect. Conclusion NO, 3 distinct tones are required for tessellating, which is not to say that a single piece or in fact a combined piece cannot be legitimately created using this effect.