diff --git a/content/works/naturarchy.md b/content/works/naturarchy.md index 3b4a5d04860eecc5548ccd2839c7c6e5c17121d0..45ca7a17139aa6e352a6a1a3f47a520bdc0a48bc 100644 --- a/content/works/naturarchy.md +++ b/content/works/naturarchy.md @@ -53,15 +53,15 @@ Our initial research involved trying out making patterns that used the shapes of We generated patterns in HPGL using a python script. These created a series of moiré effects that we could directly send to the pen plotter. We tried also with a stereotypical flower drawing, using only basic curves, and other typographic experiments. The fonts we used come from the [Hershey](https://lapolice.ch/stories/footnotes-b-article-9/) typeface. These were generated from an extension of the software Inkscape. We chose to use Hershey fonts as they are monoline fonts, meaning that they are composed from lines. This makes them therefore suitable for a pen plotter, which draws lines but not fills. - - First, we had to use an inkjet printer to print all the partner’s logos at the bottom of the poster. Plotting all of these legibly would have been a real challenge. It was risky, since the outcome would have created too much change to the logos, which needed to remain intact. A big pile of coloured paper with only small logos at the bottom was then ready to be plotted. The default Clairefontaine paper is usually very popular for printing, we used this type since we had some leftover at the OSP studio. - - + We plotted from 10am till 10pm for three days approximately, to produce a total of 42 posters for the exhibition. Each poster is structured with informative text: the title of the exhibition, the location, the dates, a context sentence about the bio inks, and credits about the partners of the exhibition. Those rather formal assets served to structure the posters and let us play around with the background elements. No two posters are the same. Sometimes we had to readjust the pen position by hand, some pens drew clearly, and others left stains and blobs of bio ink. We composed them in the moment, laying them out on the floor in the studio to see them together, while trying out different inks and shapes. After scanning all 42 posters, they were sent to iMAL with instructions to attach them to their large glass windows near the entrance. We're most curious to see how the duration of the exhibition will change them. + + + ## The other exhibition assets Alongside the posters, we also produced other assets for the exhibition, including designs for introduction text, exhibition title, captions for the artworks, flyers and a digital kit of imagery to use online.