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Lake Gordon and Lake Pedder | Field Lines: The Lakes

$45.00 $60.00

Based on the topography data of Tasmania, we strip away the land focusing on the water, the organic shapes reveal how truely unique and complex shapes of these lakes.

This piece captures the sprawling, fractal like footprint of Lake Gordon and Lake Pedder. The cold-pressed paper texture accentuates the ink, adding an organic feel to the digital data.

Each one is dated and numbered by hand on the back of the piece.

Materials:

Drawn on premium A4cold pressed watercolour paper to accentuate texture of the ink further adding to the organic shapes of the lakes. The pens we have chosen Copic Multiliner which uses archival pigment based ink ensuring longevity and contrast of each line.

Based on the topography data of Tasmania, we strip away the land focusing on the water, the organic shapes reveal how truely unique and complex shapes of these lakes.

This piece captures the sprawling, fractal like footprint of Lake Gordon and Lake Pedder. The cold-pressed paper texture accentuates the ink, adding an organic feel to the digital data.

Each one is dated and numbered by hand on the back of the piece.

Materials:

Drawn on premium A4cold pressed watercolour paper to accentuate texture of the ink further adding to the organic shapes of the lakes. The pens we have chosen Copic Multiliner which uses archival pigment based ink ensuring longevity and contrast of each line.

Introducing Field Lines

Each piece in the Field Line Lakes is a result of technical code and artistic practice.

We start with raw topographical data and a set of custom code for this project to translate the topography of the land into a visual representation. While code provides the foundation, it only provides the building blocks. I manually compose the layout, arranging the lakes to find the perfect balance of negative space and form. Before a single line is drawn physically, it’s essential to review the digital vectors, cleaning up stray paths and refining the details to ensure the final output is crisp and intentional. This stage bridges the gap between raw data and the finished design.

Once finalised, it is sent to the pen plotter. This machine acts as an arm, gripping a pen and drawing the image onto the paper. It does not spray ink like a standard printer. The plotter draws every single line individually. It is a mesmerising, time-intensive process where the friction of the pen against the paper creates a texture and depth that digital prints simply cannot replicate.

Once complete, it is checked that all the lines are drawn with a high contrast. The paper is flipped and the PLOT IT logo is drawn. I hand number each design individually, and complete it with date it was plotted. This marks the exact moment the artwork was created.