Exhausting couple of days. More later.
I’m not sure anybody’s ready for the next four years. I’ve spent two months bracing myself, and still for all that I don’t know how to deal with what we seem to be in for, or how to help others do so.
I’ve thought and written and made art, and will art and write and think more tomorrow and the next day and thereafter. But for now I just want to mark the moment.
So here’s the question: if a Menger sponge is what you get when you keep removing successive chunks of innards from a cube, what do you get when you keep the innards and throw away the sponge?
You get an inverted Menger sponge, is what. What does that look like?
Here’s three iterations, illustrated.
A zero-iteration Menger sponge is literally just a cube; you remove nothing, and the inverted sponge is just empty space.
A one-iteration Menger sponge has a tri-axial cross shape removed from it, as if it were a 3x3x3 stack of smaller cubes and you removed the center cube and each of the six cubes adjacent to that center cube on the six respective sides of the original large cube. The Menger sponge has holes in the middle; the inverted Menger sponge is a blocky 3D cross.
A two-iteration Menger sponge removes the same arrangement of cross-shaped blocks, at one third the scale, from each of it’s remaining smaller cubes; the corresponding inverted Menger sponge gains those, as miniature crosses glued onto the bigger one from the first iteration.
The process continues from there indefinitely, in principle, as the sponge itself gets emptier and emptier, and the inversion gets increasingly bumpy and full of discarded, ever-shrinking cross shapes.
I liked putting this chart together — it started as some sketches last night, see above, because I’ve thought often about the flipside object to my pet fractal — but I was surprised to discover that I don’t actually find the resulting inverted Menger sponge very visually appealing.
It’s got a kind of visual dazzle that I can appreciate, but it doesn’t communicate as clear a sense of shape; all those greebly outcroppings obscure, rather than illuminate, the essential form of the fractal shape, and it’s hard to get a clear sense of where the holes are.
But that may be in significant part an artifact of this flat-shaded isometric approach; that serves the flat-surfaced foundation of the Menger sponge well aesthetically, but a proper 3D model of the inversion with some proper lighting and shadows would probably go a long way toward making it a more interesting specimen to look at and especially to interact with via rotation, etc.
It snowed quite a lot in Portland, yesterday and overnight. About a foot altogether, which for this town is if not historic at least very rare; a typical Portland winter sees no snow at all, or some brief flurries of fat flakes that don’t survive contact with the wet-from-recent-rain ground. Every two or three years we’ll get a nice blanket of 2 or 3 inches and the city will shut down for a day or two while everyone panics.
This isn’t the first snow we’ve had this winter, so it’s been a weird one on that front already; last time we got some decent coverage, I scraped a Sierpinski Carpet in the driveway with a chunk of scrap 1×6 we had sitting around:
But this was something else, and so it demanded something else: increased dimensionality. Continue reading “The Abominable Snowmeng, and other winter fractals”
I’m calling the typeface Pipe Minimal, at least for now; easier than calling it “the typeface”. It’s aggressively minimalistic in terms of the core design elements, and those elements could be commodity bits of piping, just a bucket full of straight bits and an elbow joints in PVC or copper.
The above demo plate is what I put together as soon as I’d crossed the threshold of having an actual usable font file; I managed to sort out a few problems that only came up once I tried to get FontForge to export, and got a set of lowercase characters into an .otf file and Photoshop was happy to use it.
But when I went back to FontForge to start working out upper case glyphs, I found myself frustrated by a couple things: Continue reading “Pipe Minimal”
I like typography. I don’t quite like like it; not because of misgivings, I’ve just never gotten that deep into learning about it. There’s a lot going on there, a lot of history and art and science and discipline, that I’ve only skimmed through in fits and starts over the years. I know just enough to know that I don’t know much at all.
But I like it. And I like the idea of designing type, and now and then I end up needing to create or manipulate a cohesive set of alphabetic characters (mostly in a pixel art context), so I’ve thought a little bit about it a few times.
And one of the thoughts I’ve had is about the idea of designing a typeface with an aggressively minimal set of reusable sub-components. Continue reading “Creating a typeface”
Sketch based on my passport photo. Originally I’d just meant to get basic shapes in to try inking over, since that’s something I need a lot more practice with, but I ended up digging in a little bit with pencil.
I cam out looking more like Alan Ruck than I’d meant to; something in the set of the mouth and the long face. Like Cameron Frye scraggled up for a bohemian Ferris Beuller sequel.
This is in a 5×5 inch notebook, drawing while holding the notebook with my left hand and looking at computer screen for reference.
I’m not unhappy with it as a drawing per se but as always happens with portraiture I’m unhappy with how it fails to feel like I got the key proportions right. Working from my own face makes this worse in some ways because I’m fighting not just my eyeball take on subject vs. portrait but also some deeply wired self-identification stuff.
Here’s the actual photo, for reference: Continue reading “Self portrait in pencil”
Blanketing my friends and family and social media network with fractal imagery for months on end is paying dividends: I get people throwing found imagery and straight up craft projects my way now, which basically always makes my day.
And so I’m gonna celebrate a lazy, snowy (in Portland, again, somehow) Saturday by showing off other folk’s stuff instead of my own. Continue reading “Fractal Mailbag #1”
Little things make me happy a lot of the time, and fancy graph paper is a pretty little thing — a few bucks for a pad of 50 sheets of the stuff feels like a big pile of promise.
And with the stuff I’ve been doing lately with fractals, grids are a handy thing to have. But a standard square grid doesn’t help as much as I’d like with things like isometric views and triangle-based designs. You can wing a pseudo-equilateral design on square grid paper by centering a triangle in a 2×2 square, like so: Continue reading “Isometric graph paper!”
I bought a consumer die-cutting machine late last year, after thinking a lot about the possibilities of using machine-driven cutting to do elaborate fractal pieces that’d be difficult to execute with an x-acto knife.
The machine’s a Cricut Explore Air 2, and I’m very happy with it and will write a bit more about how it operates and what I’ve been doing with it at some point.
But what I was doing with it yesterday evening was cutting out an approximately one foot square Sierpinski carpet. (Slightly less than, because the cutting material itself was a 12×12 sheet and leaving a small margin at the edges is a safe bet.) Continue reading “Large die-cut Sierpinski carpet”