Abstractals

Abstractals are a unique form of abstract digital artwork created through the manipulation of complex fractal mathematics. They typically contain a certain amount of self-affinity (that is, small areas of the design resemble the overall design) and a seemingly infinite amount of detail.

I have found an aesthetic charm in fractal designs that is often lacking in other forms of digital art. And because much of our natural world is rooted in fractal mathematics, they tend to have an inherently organic quality. To me, they evoke the same thoughtful calm that one experiences while gazing up at clouds.

Yes, the art is created with the help of a computer – but only through the direction, intelligence, and creativity of an artist. An Abstractal must be brought into being, just as any photograph or painting. Moreover, acquiring the technical expertise necessary to create this type of digital art is comparable to the time required to master more traditional art techniques. When it comes to Abstractals, the term “digital art” is more accurate than “computer art” (which seems to imply that a computer does all the work!).

As with any creative activity, designing an Abstractal defies timelines. Beyond that, because each design is immensely detailed and significantly large (literally several hundred megapixels in size), the image rendering process alone can require between two and three weeks of full-time computer processing.

The term giclée (“zhee-clay”), which literally means “to squirt or spray,” describes any high-quality, digitally produced, fine-art print. Giclée reproduction is the method of choice for reproducing original works of art. Because Abstractals start off as purely digital creations, it is the best method available to produce them on canvas.

Not really.  Since my designs are created digitally, the source file is really the ‘original’.   When I produce a series of canvases using the source file, I often add a purposeful degree of variation in size and colour and crop.  So they are really limited-edition canvases with their own unique qualities.  In an edition length of 150, the source file is deleted after the production of the 150^{th canvas}.

I use Chromata White canvas, by Breathing Color. It is an Archival Certified 19-mil bright white, consistent poly-cotton blend canvas with an acid-free, neutral pH coating.  I’ve tested many canvases over the years, and Chromata White is by far the best for my type of designs.

Yes. I use Glamour 2 Veneer, a varnish developed to preserve and enhance fine art giclées. It not only increases resistance to image fading, but protects giclée prints against moisture and abrasion.

99% of the time, I handle all aspects of production myself, from initial design to canvas stretching.  If I get in over my head or require a larger canvas than my studio can handle, I’ll knock on the door of Elite Lithographers, here in Edmonton.