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Instrument Seven (Nat Chard)

Instrument Seven (Nat Chard)

Instrument Seven (Nat Chard)

Instrument Seven (Nat Chard)

Instrument Seven (Nat Chard)

Instrument Seven (Nat Chard)

I hope the new instruments will be up and running before too long, but these are the last three throws of paint I made, almost two years ago. In each of them there is a similar amount of paint and the paint catapult is left on the same settings. You can see how repeatable the aim is, and although the character of the flight of paint varies it is also more consistent than the earlier throws. In switching from projecting light to paint one of the reasons was to make the shadow (splatter) a less controlled event but also I anticipated that my catapult would not be as accurate and repeatable as it turned out. During my work with the sequence of  paint-throwing instruments I learnt more about how to control them, so I have been building a more sophisticated version that I hope  will lose control a bit more for the next series, although inevitably the process will repeat itself.

Instrument Six (Nat Chard)

Instrument Six (Nat Chard)

Instrument Six (Nat Chard)

Instrument Six (Nat Chard)

Instrument Six (Nat Chard)

Instrument Six (Nat Chard)

Three views of Instrument Six in action, the two top views construct paradoxical shadows that float in the air, adjacent to  the surface you would expect them to land on , in real time. The bottom image  is of the instrument in photographic mode where the relative parallax between shadow projections can be adjusted for pairs of stereoscopic photographs, and it uses a single lightbulb instead of a pair of candles.

Instrument Seven (Nat Chard)

Instrument Seven (Nat Chard)

A picture of Instrument Seven with a drawing, after receiving paint thrown by another instrument. The paper follows the folds of the picture plane support (behind) which has tabs to match those on the paper and they are held together with bulldog clips. You can see how little of the main throw of paint lands on the drawing (unlike Instrument Five)  and instead it catches just the splatter of paint that collides with the drawing pieces.

Instrument 6 (Nat Chard)

Instrument 6 (Nat Chard)

Instrument 6 (Nat Chard)

Instrument 6 (Nat Chard)

Instrument 6 (Nat Chard)

Instrument 6 (Nat Chard)

Instrument 6 (Nat Chard)

Instrument 6 (Nat Chard)

I have been reshooting Instrument Six – the earlier photographs were too saturated. Here are some tests. The surface on the folding picture plane is a material that retains polarisation, made by Da-Lite Screens. The instrument is seen here in real time mode – to see a shadow floating off the surface on which it should, by rights, land.

Instrument Three (Nat Chard)

Instrument Three (Nat Chard)

Instrument Three (Nat Chard)

Instrument Three (Nat Chard)

Instrument Three (Nat Chard)

Instrument Three (Nat Chard)

Looking through some photographs I found some of the stereoscopic shots I had made of the instruments. Here are a few of Instrument Three.

See also:

https://natchard.com/2011/09/14/drawing-instrument-three/

https://natchard.com/2011/12/26/more-instrument-three/

To view the images in three dimensions, go cross-eyed until you can register one image over the other. You may need to reduce the size of the images a little and perhaps tilt your head a little to keep the horizons together. When you have the image, try to relax to get the full stereoscopic depth.

House

A couple of stereoscopic views of a model for a house. It is a sanitised version of the project due to the   circumstances that led to this model. The original ceiling became part of another model – I just came across these pictures that I took a while ago as it was sitting on my desk and I threw a couple of pieces of MDF on for the snaps. There are lots of missing pieces, to be held by the white steel armature.

House

Design Ecologies

I just received a copy of Design Ecologies (Volume 2 No.1) edited by Shaun Murray. The title of the issue is The Ill Defined Niche. It has chapters by Shaun Murray, Camila Sotomayor, Tim Matts and Aiden Tynan and one by me called Drawing Uncertainty that covers some of the instruments and the Bird Automata Test Track. If you are interested you can order a copy here.