1/16/17

As the new year marches forward, I’d like to talk about my time cards and the evolution of my process in 2016. On June 23, 2016, I started a journey in documentation and repetition that has continued for 207 days and counting.

Here are the rules that my cards follow: 

  1. Within each 24 hour cycle (local time) a ‘time card’ is drawn.

  2. The card is prepared (torn from a larger sheet of paper) on the day it will be drawn on, using the previous day’s card as a template for size.

  3. A drawing session proceeds without interruption.

  4. Lines are drawn on to the card from top to bottom (in landscape orientation).

  5. The card is filled with drawn lines from left to right.

  6. The exact length of the drawing session is recorded in minutes and seconds (MM:SS).

  7. The time of day (start time and end time) is recorded in local time (HH:MM-HH:MM).

  8. After the conclusion of the session, the exact number of lines is counted.

  9. The cards data (start time, stop time, length of session, number of lines, and date) is recorded (in this order) on the back of the card in the upper right hand corner

The journey has refined my process and eliminated unneeded variables as time goes on. I started out photographing these drawings with aesthetically pleasing backgrounds of grass and other patterns. On 10/03/16 I started photographing the cards on black backgrounds to allow the focus to remain on the cards.

From 11/01/16 and onward I changed the orientation of the cards as I photographed them to be in portrait orientation. This decision relates to the figure ground relationship between the lines and paper. When the cards are viewed in landscape orientation the lines act as figures standing within a space. Changing the orientation alters the space of the card, but it also modifies the rate at which a person can process the image in its entirety. The landscape view does have a time-based element, as one can see the order in which the lines were created and can imagine the lines being drawn from left to right. The horizontal lines of the portrait do not have this component and remove the viewer from seeing the original sequence of lines as they were drawn. The lines in this format seem to be in the same moment; unified and contained.

The size of the cards fluctuate over time because of rule #2 and have dramatically increased since the summer. The average number of lines for the year was 117 and the average length of each session was around 22 minutes.

Notable Inconsistencies:

  • From 06/23/16 to 07/03/16 the color of the cards was drawn in red ink. On 07/04/16 a transition card was created that changed from Dr. Ph Martin Hydrus Watercolor red ink to blue ink of the same brand at the 49th line. This was an aesthetic decision that I’m not interested in repeating.

  • On 09/23/16 there was a transition from Dr. Ph Martin Hydrus Watercolor Ink to Dr. Ph Martin Bombay Blue India Ink at 42nd line

  • On 10/16/16, 10/17/16, and 10/19/16 I used lines that were wavy to add more visual interest to the card. This is an aesthetic decision that does not add to the purpose of this project; to use repetition and elemental components of drawing to translate one thing into another.

  • From 11/12/16 to 11/16/16 the edges of the cards were altered from a straight edge to a wavy edge. The decision does not detract from the purpose of the card, but it doesn’t enhance the purpose either.

Number of Lines in Each Card, 2016.

Thank you for your continued support and interest in my work.

 

My best,

Paul.