The output on the piece of paper was in 48 rows and 48
columns. Each shape was to be painted within 1 square inch
of space. This worked out to be a painting which was 48
inches square. Initially I was thinking this would be a
fairly easy task since I am quite used to using something
called frisket film to "mask out" areas for easier painting.
But due to the somewhat rougher surface of the linen canvas
(as opposed to smoother watercolor paper), I had to
individually paint each shape by hand using tiny pieces of
masking tape to help define the shapes. At one point, the
painting lay dormant for months. I was, to be quite honest,
avoiding it. But, in July of 2000, I was able to complete the
work.
There is one aspect of this painting which is not random.
It is my choice of a pattern which I drew out on a very tiny
(5" x 5") piece of paper. I PROJECTED the wavy pattern onto
the canvas with the use of a piece of equipment called an
ARTOGRAPH. This is basically a camera which projects images
onto things. I followed the projected lines with a pencil
onto the canvas.
The final step involved the color choices. To me, this was
the most fascinating task because it too was an experiment
of sorts. The interesting thing about the experiment was
that it took 3 years to discover what the overall effect
would be! The SCHEME used was as follows:
-
Each wave BAND would need to be in the same hue family (like blue, or red, etc.).
-
Each SECTION in a wave band would need to be tinted OR shaded compared with its
neighboring area in the same band.
-
The shapes themselves would need to be composed of TWO colors.
-
ONE of the shape's colors would need to be AN EXACT COMPLIMENTARY COLOR to the background
on which it lay.
-
The OTHER of the shape's colors would need to be A TINT OR A SHADE to the background on
which it lay.
Note: A complementary color is THAT COLOR which exists directly across from another
color on the color wheel.
-
Each color on any part of the painting would need to be repeated only one time but the
repetition would have to occur in BACKGROUNDS for shape's colors to be duplicated and in SHAPES for background areas
to be duplicated.
-
SHAPES (for example) in an UPPER-LEFT area would to be COLOR "A".
-
THE BACKGROUND COLOR in the same UPPER-LEFT area would be COLOR "Z".
-
SHAPES (for the corresponding example) in an LOWER-RIGHT area would to be COLOR "Z".
-
THE BACKGROUND COLOR in the same LOWER-RIGHT area would be COLOR "A".
If you have been able to follow this, you are good. Now,
try imagining applying this same scheme DIAGONALLY across
the painting in the other direction as well. I was hoping to
have the shapes "float" or "pop out" of the canvas
optically. Upon completion, this effect was achieved. And
yes, it was cause for a long awaited celebration! Random Study One is currently available
at this writing on May 3, 2002.
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