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Lattice Art.


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Lattice Art.

4 Jan 2011 9:46PM   Views : 4337 Unique : 213

Carl Kuntze

Edgar Bayani, semi-retired Filipino advertising photographer, began experimenting with lattice images in 1998, using illustration boards as prototypes. He was searching for new ways to display his photographs. His results, while quite striking, didn¡¯t really leap to the eye to command attention until he converted to wood. It was an eminently difficult process, deconstructing, then reassembling his images on quarter inch slats of plywood, then glueing them into a solid base, but the effect he obtained from the translated picture was so unique and emotionally evocative, he continued producing them. Even pedestrian snapshots became portrayals of uncommon beauty. It takes three weeks of painstaking, almost uninterrupted labor to produce a 30¡± by 40¡± lattice picture, so he has to charge accordingly, limiting commissions, but he¡¯s content to work from his own pictures. His works came to public attention when former classmates from his fine arts school asked him to submit a few pictures for a group exhibit. He sent two lattice panels, which stood out among conventional paintings submitted by his contemporaries. Deconstructed, then reassembled photo-graphs from 140 separate slats , they, nevertheless, were hypnotic visual magnets.

Bayani had been an industrial and advertising photographer for nearly thirty five years. He got there through a circuitous route, starting out in news, dance photography, then shooting movie stills for runaway productions for US drive-ins. When he accumulated enough capital, he opened his studio, developing a reputation for dependability. ¡°In focus. Well composed. Properly exposed. On Time¡± He explains his success. Meeting deadlines was crucial for his chosen field. His training in art was never neglected. Not only was it evident in his photography, he persisted drawing and painting in his spare time. He also engaged in woodworking for relaxation. That he could combine his hobby with his occupation was fortuitous. He begins with with a sheet of plywood, carving tracks with a mechanical tool. Then he gathers quarter inch slats 40 inches long. Planing each slat smooth, then shaving connective slots by hand. He then lays the woodwork aside.

Selecting the picture he wants to lattice, he scans them into his computer with a UMax 2000 scanner, scaling the dimensions to a ratio to produce 30 by 40 " images at 100 dpi. He saves the image after converting it to a grayscale, then reduces the file size to one manageable by his program. Regulating the contrast according to his judgement, he applies the straight line screen, adjjusting the screen lines to 3.5 per inch. Extracts a small portion to print in his Epson 1200 printer to evaluate the actual width of the lines. He corrects any aberration, thenb prints another small portion to ascertain it comes up to 1/4inch per line. He then types the numbers inside the lines on opposite sides of the photo for consecutive sequencing. Saving as TIFF, he places it in illustrator program and readjusting the document size to 30 by 40 ", tiles all imageable areas so they can be printed in 9 13 x 17 panels (Super A3 size) leaving three quarter inch borders on areas to be joined. Carefully aligning the segments to a single 30 by 40 " image, he binds them together with adhesive. Then, using a straight edge utility knife guided by a metal ruler, he slits the lines a little less than 1/4th inch to produce 140 slrips 1/4th inch by 30 inches long.

He returns to the wooden slats prepared beforehand. The precise dimensionbs of the 140 pieces of wood is 1/4 x 2 x 30. The strips are glued on the 1/4th of an inch face. The printed strips are his carving guides. He scrapes off all the dark areas leaving the light portions on both sides of each slat, numbering each one so as not to lose the sequence after removing excelss media. The slats are then thinly coated with Elmer's Wood Glue and laid one by one in predetermined tracks on the 30 by 40 marine plywood bed, image side exposed. Small pieces of spacers (measurijg about 1/16th of an inch, the size of a popsickle stick) separate each slat. Once the reconstruction is complete, the lattice are laid on a flat surface to set for a day. Finishing is done by sanding the sides and surface smooth, followed by the application of two coats of Boysen Clear Gloss Varnish. The lattice is now ready for viewing.

Here is a link to an image describing the process.

Tags: Lattices Slats Plywood Deconstructung Reassemb


Pete 19 18.8k 97 England
4 Jan 2011 10:15PM
Welcome to the site Carl, that sounds like an interesting way of presenting images. Do you have connections with Edgar? Could we see an example of his art.
5 Jan 2011 3:08AM
Hi Pete: I have selected pictures following the process, including samples of his work, but I don't know how to add pictures. I can't find a button to upload pictures on the blog. I sent Richard a scansheet. Maybe you could look at it.

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