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breaking time & space at Slater Mill

May 31, 2014 at 10:46 pm

I just busted out a project that I am really excited about. I finally got to make some really big three-dimensional letters… it is for a show celebrating labor protest history… and it is in a great old industrial building.

slater_n

It is part of a show at Slater Mill Historic Site, a museum that is in the location of the first installation of the “Arkwright Method” of factory textile production in the United States. The exhibit is called The Mother Of All Strikes, focusing on the first factory labor walkout in US history, which happened at Slater Mill in 1824 when women loom operatives walked off their jobs and protested successfully for the restoration of their cut wages. It’s up till July 31st so there is lots of time to check it out — if you want to see it, contact me (secretdoorprojects@gmail) and I think it’s possible to arrange a free visit.

The show includes historical information & imagery, as well as artwork made specifically for it by Christine Ashley, Chelsea Carl, Priscilla Carrion, and Kristina Brown, and me!

I don’t have great pictures of the final installation yet, but here are some process shots and blurry phone pictures of the real thing, with more writing & good pictures to follow!

Slater Mill’s interior, with various textile machines from different eras (some still operational!):

conversation_05

A little chunk of a project description I wrote for a reporter this week:

The piece I made for Slater Mill, and for the anniversary of the 1824 strike, is called, straightforwardly, “Autonomía” — which translates to “Autonomy” in English. The large letters (made of cardboard and silk-screened paper) are staggered in space and take over six bays of the factory building, getting in people’s way — just a little bit! — as they walk around. From one end of the building you can see that they spell a word; from other viewpoints, the shapes of the letters are visible but it’s not quite clear how they fit together.

The idea of autonomy is the idea that everyone should have control over their own lives, projects, work, and associations — it’s a specific way of talking about freedom that is about self-determination and cooperation as well as about independence.

The word was created using a perspectival illusion, based on combining an architectural drawing with a drawing of the letterforms. The furthest-away letters are the largest, and as they come towards you they get smaller, so from a specific viewpoint they all appear to be the same size, floating in space, not subject to the rules of perspective. This was a way of breaking the ordered, regular spacing of the building’s structure, which was part of the control system that Slater & his partners imposed on their workers. The word is only legible in denial of the factory’s regularity, contradicting how objects are “supposed to” behave in space.

I wanted to connect workers’ struggles today to the struggles of workers in the past, and make it clear that the fight continues — right now, with the struggles of fast-food workers across the U.S. and here in Rhode Island for a $15-an-hour minimum wage, among many other battles. The word is in Spanish to allow it to communicate directly to Spanish-speaking museum visitors — and to remind English-speaking visitors that these struggles are happening all over the Americas and the world. (And also to make it clear that I am *not* quoting the 1824 workers, since we don’t have any first-hand quotes from their speeches or meetings in the historical record.)

Some epic process notes….!

Based on the building’s plan, and on my own measurements of vertical elements, I made a perspective drawing (here ghosted out under a couple layers of vellum) and then drew the letters of the word I wanted to build in such a way that it would fit into the museum’s space:

slater_dwg1

Here’s a detail of projecting the letters, these largest ones cut up into overlapping pieces, back in space onto the “picture plane” (a perspective-drawing concept, the plane where all the elements have a “true height” to scale) to figure out how large I would have to build them to get them to look the same height in person…

slater_dwg3

The largest letter was six feet three inches tall, the smallest was about 18 inches tall.

(Most of this drawing was made on a drafting desk with a parallel ruler, but I did have to take it to my parents’ house in Philadelphia with me when I went back for a family wedding in the middle of the crunch time… here it is on their dining room table, with the plan of Slater Mill above the perspective drawing…)

slater_dwg2

The thing I wish I’d done differently in the drawing process: I should have made the original plan at a larger scale; it should have been 1 foot to 1/4 inch instead of 1/8 inch! (or even bigger?) Then I would have had more ability to get accurate detail from the drawing instead of having to do complicated proportional translation. Luckily I had this trusty analog tool:

proportional_scale

The proportional scale! Which I don’t use all the time, but when I do use it, I can’t think of anything that could replace it.

Drawings were scaled up and then transferred to cardboard. I got all this two-ply bike-box cardboard which was nice & rigid (thanks, bike shop pals!), and perfect for being able to create a gluing surface on the edges, by peeling off one layer of corrugation, and bending back the other layer to give the hot glue something to hold on to.

Draw letter, add a 3/8″ border, cut partway through & peel:

slater_edge3

Cut through the middle flat layer:

slater_edge2

Gently bend back the bottom corrugated layer, and squish the corrugations down:

slater_edge4

Cut two-inch strips of cardboard and hot-glue them to the folded-down edges (the paper-wrapped bricks are weights to hold the whole thing in place & keep the glued parts pressed tight together while the glue cools):

slater_edge5

If you drop your razor knife with the blade fully extended like that, don’t try to catch it! (I didn’t… but just barely)

Some complete letters stacked in a nice-looking pile…

slater_edge6

Each letter had its height divided in four, and I made four stripes of this pink paper that Alison Nitkiewicz & I screenprinted more than two years ago

slater_os

(the Os extend a little beyond the top & bottom line of the letters, so they got a tiny stripe of another color pink added on the top…)

The biggest letters (the first ones that were done!) loaded in the van to go to the mill (and yes, the colors did look completely different in the daylight vs. in the studio lighting):

slater_van

Late nite install:

slater_ext

Scøtt was a crucial, crucial helper in the hanging process, I really wouldn’t have gotten it done without his help… the timeframe was tight enough that we didn’t take any installation shots except this one, when we were almost done:

slater_hang

Jeremy Ferris took this nice picture at the opening, really showing the size & scale of the largest letters:

jeremy

And here are another couple pictures I took as things were winding down:

slater_opening

slater_full

And… just some of the smaller scraps of pink paper left over in the studio afterwards:

slater_scraps2


… and while we’re looking at letters, here are two variant proportions for the same letters from stops along the C subway line in Brooklyn.

These are different shapes, to fit a different size panel & with different street names (the first one is Nostrand Ave, the second one is Kingston-Throop Av), so the angles are all different… BUT the small tiles are the same size, and the “style guide” for how the tiles are cut and placed is the same, including the extension of the top point of the A and bottom point of the V past the bounding line for the rest of the letters.

nostrand_ave

kingston-throop-av

Things I like to look at!

I have been posting a lot of found letterforms, also cool architectural things, process work, and occasional cats, on my instagram recently, I’ve been really psyched about that format for internet interaction… follow if you’re into it!

“in the new year” part 1 — drawy drawy draw draw

February 20, 2014 at 2:36 am

architectural drawing of roof beams under construction

I haven’t been posting things here recently, I’m not sure why, maybe because it feels somehow weightier than putting something on tumblr or facebook, or like something has to be more “finished” to post it here? Which is absurd because this has always been all about process and things in progress.

Also I was really hoping for some “break time” in the new year, but turns out I’ve just been really busy with three big projects that haven’t been commercial print projects (as in making prints that people might purchase), but instead have been three challenging personal projects in response to assignments or calls from other people (for exhibition, publication, etc). So… kind of a break? at least a break from my regular print work? but all of the projects have been on tight deadlines (and/or just really late because I was supposed to work on them in the fall and didn’t because the fall was such a busy non-stop season for me…), so there’s been a certain level of stress / “I can’t do anything till I finish this project! aaah!” feeling to the past six weeks…

… and also some guilt: “if I post something on my blog, the people who are waiting for this work will think I am procrastinating…” :C

(Update: after finishing this post, I think the main reason is that when posting stuff here I feel like I need to write things about the images and tie them all together / explain somehow… and that writing takes a while…)

Anyways! Here are some images from the thing I am working on right now (the last of the three projects, will post next about the other two). Pencil drawing, gonna try to print it as a tri-tone made of halftone layers. This should be difficult, but not impossible, to print well. I’m trying to glean lessons / avoid pitfalls from printing the duotone hands on the Recycle-A-Bike poster

It is a drawing of an imaginary building that is simultaneously falling apart / under construction, and it will have some text in it (spoken by the person on the right in the below image) but will mostly just be these people exploring the building…

drawing of two people standing under a sloping roof having a conversation

Drawy drawy drawy draw draw, keep drawing, draw all the lines:

drawing of broken lath-&-plaster walls with the plaster crumbling & the lath sticking out at odd angles

Will I someday remember to remember that drawing is easy and fun and the best part of everything? It’s so easy to get intimidated by it, before I’ve started…

When I’m drawing people from my imagination, I feel like I’m still in middle school. I remember the specific feeling of revelation, in early high school, where my drawing practice switched over from “oh I drew that face really perfect, even though it’s in the wrong place in the larger drawing I can’t erase it because I could never get it that perfect again” to “if I need to, I can draw it again, go ahead and erase & make it the way you want it!” But I still feel a little like the lines coming together “right” on a drawing of a person, especially the face, is a magical, accidental thing that I don’t quite have control over…

…and apparently I’m still channeling my favorite characters from elementary school:

illustration from the book

in-progress partial drawing of a child

(the color illustration is from Little Tim and the Brave Sea Captain, by Edward Ardizzone, great author/illustrator/graphic-narrative-maker/hand-letterer, staple of my childhood… I didn’t realize that he wrote & drew the “Tim” books over the span 1936 to 1977, that is a long run! I also didn’t realize that I haven’t read them all… gotta get on that. Also he made a bunch of paintings and illustrations of harsh scenes that he witnessed as an official “war artist” (!) in World War II… many things to seek out.)

Okay here’s some images from me testing out the tri-tone effect on the computer, to see if it will work with the scale of printing / scale of the details on the drawing… I think so? I hope so!

three-color separation of a detail of the drawing:

halftone image of a section of pencil drawing

lightest tones:

lightest color halftones

medium tones:

medium-value color halftones

darkest tones:

darkest color halftones

These are only test images, the separations will change… After making these, I looked at the Recycle-A-Bike prints compared to their transparencies, and made the note to myself that in shooting the screen, the smallest “positive” (ink) dots do not block enough light and are often lost, and then in printing, the smallest “negative” (blank paper) dots often get obscured by ink bleeding into them… so I will adjust the “curves” that determine where these colors fall in the image, to try for the most descriptive image possible…

Here is a detail of the combination:

combination halftone image in super close up

If you click through & zoom in, when you look at the full-size image, that is a screenshot & shows the image at 100% PIXEL size… that’s 27 lines per inch, at 600 dpi… you can look at the ruler at the top of the image to see what a ruler-inch is for comparison.

I hate to do this, so blog-typical (and I’ve done it before for this same thing! augh) but I need to get back to drawing, so I will say, “I will do a serious process post on how I make these halftone tri-tones / duotones sometime soon!”. And I will follow through with that! (After the thing is printed & mailed out… sheesh.) Is learning about that process something that’s interesting to anyone that reads this blog? Does anyone read this blog, in the age of facebook & tumblr? Hmmmm.


Here’s some sneak-preview multi-layer dazzle-camouflage-pattern blip-blops on clear acetates for one of the other “new year” projects, that I finished last week… I am under orders not to talk about it till the publication that it is for announces its contributors… so I have to wait to give out more specifics! But here are some cool/weird/accidental colors to tide you over:

a bunch of different color geometric patterns printed on clear plastic


Also it is Buio’s birthday sometime in February, he has been my good friend for almost 10 years! (I found him as a kitten in June 2004…) Here’s a nice picture of this companion in front of a cool Katrina drawing:

a black cat sitting on a table in front of a drawing of two women and their little dogs that says 'I stop the world and melt with you'

BUIO!!!

irreplaceability

June 18, 2013 at 6:32 pm

As hinted at earlier, I have been working on drawing the Manchester St. Power Station, for a commission design but also for my own purposes. Though I’ve occasionally turned to camera/computer as photo-reference to keep the work moving along, since it’s been raining a bunch this week, mostly I’ve been drawing outside, “from the real”.

stormy building

[n.b. most of this update was written in late May, please forgive the slightly fictional historicity…]

To get the view that I decided is best (I will write more about this in a further post on this project) this means sitting on the Point Street Bridge, on the walkway part but about three feet from the guardrail & the vehicular traffic. This is a very loud experience (I keep forgetting earplugs) and also vibration-y, as I’m pretty sure that bridge was not made for the scale of trucks that pass over it.

providence poses for its portrait

Today it was also a very windy experience; a thunderstorm was projected, I kept expecting a giant bucket of rain to dump down on my head (as it did earlier this week: I attempted to shelter for a bit under one of the bridge trusses, during which attempt I took the photo at the top of this post), and there was a consistent & very gusty strong wind from the southwest. I was using a complicated paper ruler to get a specific kind of simulated-perspectival-regression thing to happen — when you’re setting up that kind of a scenario, you do it trial-and-error-style: “does this look right? does that look right? okay, draw the line, make the marks, good”. Then that little piece of paper with a family of marks and lines on it is your reference document for creating semi-realistic perspective on any line in the building that is parallel to that line. (does that make sense? I’ll write more about this technique at some point.)

buiding & drawing

And I guess that that is the downside of the paper ruler? Because if you have a windy day, and you are sitting next to a busy road on a bridge over a river, and your drawing is taped down to a piece of masonite board, and to keep the little paper rulers from blowing away you are sticking them between the drawing and the board, and if the wind then blows a bunch of grit & sand off the road surface right at you/your drawing and between the paper and the board, and to get rid of the grit so it won’t make bumps under the pencil lines you stick your hand between the paper and the board and try to brush the sand away….

…. well, then what happens is that you watch your dumb little scraps of paper, that you just spent an hour utilizing to make all these crucial precise finicky decisions, blow away across a roadway of speeding cars and in the inevitable direction of a grody body of water. My initial reaction was “Oh crap!”, my secondary reaction was “Ah, you know, whatever, it’s just paper, I already used them to note the perspective lines I needed”, my third reaction was “Oh wait I still need those to make some more perspective decisions for the rest of the drawing…” and my fourth reaction was a deep sinking feeling of loss, destruction, regret, stupidity, and sorrow, an emptiness in the gut, a disaster I had just made happen. All in the course of 30 seconds.

I did jump up, making sure to carefully set my drawing on its board flat on the concrete walkway, but the paper rulers were already blowing down the middle of the roadway — and the Point St. bridge traffic is not to be trifled with at rush hour (or any time, really — it’s one of the worst biking passages in Providence, I think…). Somewhat ironically, the real reason I didn’t run after them immediately is that my new (to me) computer was in my backpack which was sitting next to me on the bridge walkway… I couldn’t quickly pick up backpack & drawing at the same time, couldn’t really run with them, and I couldn’t figure out whether to leave the computer, the drawing, or my bike totally vulnerable to anybody who might be walking past while I ran on a risky mission after the rulers. Bike: crucial to my life, irreplaceable; computer: new & valuable money-wise & also work-wise; drawing after 3 or 4 days of working on it: completely irreplaceable and also now extremely valuable in terms of time spent on the commission & when I needed to get it done by, and also just as a beautiful object that I was attached to………

grubby & stained drawing
[click on this image for a higher-resolution view, so you can contemplate just how dirty this drawing is]

So I let the paper rulers blow away. They weren’t even in the river yet, but they were already gone. This was a weird decision, for me. I hate losing things, I think about everything I’ve lost for a long time, the memory of them keeps coming back to me with regret & sadness. But it was a passable day for drawing, & I needed to get drawing done, and I sat back down & kept drawing. Lines! You can re-draw lines… But I kept being washed over by a wave of the regret and loss feeling, the lack of physical existence of the objects that I had such a clear physical memory of holding in my hands, folding, drawing on, using as tools, with their smeared graphite dirtyness and their intense reality that had just become unreality, or at least a reality that I could no longer reach in the same way…

About ten years ago, I asked a teacher and friend of mine, Peter Stempel, an architect and designer, why he had stopped making pencil drawings and started making his architectural drawings on the computer — in the early 2000s, he had just recently given up resisting the universal switchover to CAD. I asked: was it taking you too long to make the pencil drawings? No, he said, he was really happy about everything about his drawing process — except the uniqueness and fragility of the paper documents: when he took those drawings to the duplicator, if they got caught in the machine or torn or some other freak accident happened on the way there, that was the only copy he had and all the information he had worked so long to develop and note down could be lost. The possibility of this loss — in a profession where no one else was risking it — was too grave to entrust his work to that process any longer……

some details

Drawing as object // drawing as information. That is the dual nature that makes paper drawings so resonant: they embody both at the same time. In a computer era, the printout exists and has a bunch of uses, sure, but that paper is already garbage the moment it comes out of the printer — the important information is in the file, the vector coordinates, a series of numbers…

In a paper drawing, the paper holds the information but is also where the information came to become itself, where the decisions were made, where useless or inaccurate or simply un-beautiful lines were decided against and erased, turned from marks into indentations, ghosts or echoes… The drawing object is four-dimensional, resonant of its past as well as its bumpy, grubby, warped, gritty, folded departures from the plane… it tells of all the things that have happened to it, and of the future potential for its own non-existence. The person holding the drawing in their hot little hands has also had a lot of things happen to them, so maybe they understand how the drawing feels? but unlike the drawing, their own non-existence is not a future potential but instead a future certainty… whereas— unlike both— the vectors will last forever…

So anyways… philosophy aside: now that I’m done the commission (more process notes later) and have turned in the vector files I made based on the drawing to be sent to a company which will print them on tote bags (!!), my conclusion about vector graphics is that using the tablet & stylus to drag little “nods” around hurts my hands a bunch and puts me seriously at risk of repetitive stress injury… in a way that cutting rubylith and drawing never has… BUT… in this modern world, there’s nothing like being able to instantaneously send someone a vector file which they can reproduce at any scale and at any resolution. I just have to not work on those files for too long at a stretch…. AND there’s no question that drawing is way more beautiful. DRAWING!!!

And, on the practical aspect, I did also find a solution to my specific windy-day, drawing-on-a-bridge problem. The *new* informational scrap of paper is attached by a length of blue masking tape to a rubber band around my wrist… awkward but secure?

solution


Hey remember this cool print I worked on last year with Noel Puello? Noel and friends (& fellow NUA alums) Carmela Wilkins and Sara Tolbert are working on another one this summer! Once again, for college fund-raising.

carmela sara noel

Here we are drinking coffee & tea & strategizing (with their sketch and color-test-sheet) around my kitchen table… I’ve seen some photos of their printing process that were stunning… I met with them today to do a quick html/css/ftp tutorial… and now they’re working on an updated web presence for it… I’ll keep you posted on the further developments of this project!


different colorway

I promise I’ll write more about both my weird simulated-perspective method, and the rest of the process on the power-station image, very soon!


Also this update is dedicated to Puppy Bonesteel, a cat who passed away this past week. A unique & personable cat, he had beautiful spots & big eyes, he was a good friend to my dad and my brother (who shared in his ownership) and an adventurous animal. He is missed.

windy_ruler_10


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