In choosing a font for the current series of cryptographic paintings, I settled on one of the more durable and popular typefaces, Caslon. Created during 1725 by William Caslon at his foundry in Sheffield, England, it was based on some of the current Dutch fonts of the time, and includes well-developed serif characters that aid in legibility and aesthetic value.
I thought it would be interesting to provide a behind-the-scenes look at my painting studio, since this is where I’ve been spending a considerable amount of time as I go about my current batch of Non-Representational Entoptic Phenomena. If anything, this is a record of my workspace during a productive phase and could be helpful for other artists, because I work very cheap. I’ve always been annoyed by how expensive art materials are, and I’ve managed to work very big and keep prices low.
Recently, I had the distinct opportunity of working with the Sudbury Valley School once again, this time on their new book A Place to Grow, a collection of essays and observations by Daniel Greenberg, co-founder of the school and major proponent of the Sudbury Model of education. I’m especially intrigued by the double meaning of the title as a PLACE to grow (physically, as a school building) and a place to GROW (individually, as a person) because both of these modes of growth are required to establish and maintain a Sudbury School.
David Winslow Brisson was an artist whose work dealt with the visualization of mathematical structures, particularly four-dimensional geometry. He grew up in Cambridge, Massachusetts and received a BFA from Rhode Island School of Design in 1953, and an MFA from Ohio University in 1955. He also studied with Hans Hofmann in Provencetown MA, in the summer of 1956. He taught at University of Rhode Island, the Kansas City Art Institute and Auburn University before becoming an Associate Professor at Rhode Island School of Design in 1965. It was at RISD that he began his visual explorations of multi-dimensional space.
In The Royal Society paper Geometric visual hallucinations, Euclidean symmetry and the functional architecture of striate cortex, it is demonstrated through a mathematical investigation that the retinocortical map of neuronal circuits determine the geometry of images experienced with eyes closed and in other states of excitation. In other words, the structure of the striate cortex, the area directly opposite the eyes at the back of the head, determines many of visual patterns we witness.
Recently, Matt Griffin wrote a brilliant article at A List Apart about the eternal disparity facing designers, specifically the difference between using the traditional boring time-tested solution to a problem, or going outside the box to create something a bit more exciting that may not communicate as well. Matt described it as “the mismatch between impulses (bring order!) and outcomes (show us surprises!).”