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Sierpinski Loop I.
Really happy with how this came out -- it's oils, mixing orange and white, 12x12, via a vinyl stencil.
I picked up a couple of super shitty cheap student brushes today because I couldn't find a non-shitty stencil brush at the art store.
So it's $0.69 of the worst, saddest collection of hog-or-is-it? bristles you've ever seen, just a tremendously crapshit brush -- but literally the perfect tool for this particular job.
@joshmillard This is really nice.
@migurski Thanks! Tipping my hand with the title but I'm thinking of a series.
@joshmillard Are you making the stencils with an xacto or using a vinyl cutter?
@migurski Vinyl cutter. I bought a Cricut machine late last year, and create vector shapes in Inkscape, import those .svgs into the (excellent) Cricut's (shitty) software, cut a vinyl stencil that way. Then pick out negative space, use mildly adhesive transfer material to transfer the vinyl to a canvas or board, and paint from there.
@joshmillard Seems like you could go arbitrarily large with this.
@joshmillard I think I meant both! I'm imagining one of these taller than a person, viewed at a distance. Seems like it would be very satisfying to walk up to it, walk away, and walk up to it again.
@joshmillard the big-ass hole in the middle makes it work from a distance.
@migurski @joshmillard Then you can do the scene where you get closer and closer to both the artwork and Cameron's face.
@migurski Yeah! I really really like the idea of work that scales with distance. Lots of classical and modern painting has a duality like that already, where there's the stand-back-and-see-the-whole aspect and the get-close-and-see-the-brush-strokes aspects, but really emphasizing that with the use of a fractal shape that keeps resolving would be extremely satisfying.