one segment joint of a larger drawing.
Good lighting is imperative for photos of drawings to come out well, so I won't disgust you with any more photos such as this. I did want to share that there are now 3.5 drawings for the CMYK series in progress. I'll have to post more photos as I take better ones with good light.
This work, read more on the CMYK blog entry in the month of November, is a practice in patient, accurate mark making. I find myself working for hours, amazed by my slow progress, then stunned by the good result. Furthermore, I've decided to develop compositions only based on the original color printer test prints that inspired the first work. I realize there was a quality to the first print and the first drawing that doesn't exist in all print outs from any and all printers. That should be a given... are color test prints an aesthetically purposeful layout of color and form? I'd like to know who decides the orientation, size and color of the marks. Is everything printed solely to orient and reset the printer cartridge?
In either case, I still want to see color test prints. A trip to FedEx Kinko's to inquire of their test prints (wasted paper) ended up with confused looks and finished with, "Sorry... I guess I can't help you." Really? I just want your trash... oh well. I did receive 3 beautiful prints from a friend of mine that struck my aesthetic bone similarly to the first print I found.
And so, I should sum this up to say that I realized the world of color theory and composition in terms of minimalism is continually complex. The journey to satisfaction is long and requires empirical research through practice.
Perfect. I appreciate the practice. This is a welcome addition to my work at large, which addresses the repetition of practice.
