CHOOSING

It's to involve as many personal choices as possible is part of my goal here.

Yeah, well I'm just looking at what our technology can do for you.

O.K. That I realize.

Obviously I see distinct lines here and that's our business. We choose to highlight certain areas. Like I could have chosen not to highlight the back of his chair there and not put a router line around it. You know, that's one of the more intricate signs that we've done. I could show you what we can do with the lines.

Yeah, I understand that.

And in something like this other black and white one here, we'd be in for some surprises and it would really have very little to do with legible signage.

Uhm hm.

We can switch all that around later, change the LED's to make green and yellow or red and yellow. That can come later. Once the acrylics are cut then you can start mixing with the colours and putting one in front of the other to see what effect you like.

Ooh, that is neat. I'm thrilled. Steve said a one month production time.

Uhm hm.

Does that sound feasible to you so we could do all that testing and switching within the one month time line?

So now we have clear decisions for two of them but we've been jumping back and forth from these to the dotted one.

I don't have to explore any ideologies.

That's not entirely true.

Well, I had some ideas to start with of course but the rest just came up. So I have to go through these and I have to decide what format I'll use on the audio tape and how I'm going to format these in another binder. Whether to have them in sections, whether to group all the ones that have to do with amateur and professional together or whether to have them just completely random. If someone wanted to read about "meaning of improvement in the realm of landscape" or maybe it could be a broad topic like "subject", they could turn to that section of the binder and there would be a whole bunch of things people have said about the subject of the original painting.

Oooo! That one's cool. White LED.

White LED. So where the light blue is that would turn out white.

Most of these little shapes are large enough to be routered aren't they?

Especially if it's scaled up to this size.

That one interests me.

That one's very different.

Especially if you have the computer file and can take out that and make it separate. So if we took out all of those little white tributaries.

Yes.

And removed them and printed the back plate out in its form so it would be dark --quite a bit darker and then put the lighter on top in router. That's interesting.

O.K. You seem to favor this one then?

This is interesting too but ours would not look exactly like this. You know I could give her an image like this or like this to start with and see what she can work with and what she would choose to highlight and ah, and, go from there. I mean we couldn't reproduce this exact gradation here or it would be very difficult to do that.

No. I don't expect that. In fact the technology's going to dictate and there will be some surprises.

Uhm hm.

It's something like putting pots in the kiln. You don't quite know ...

How it's going to turn out.

How the glaze is going to melt.

One layer would illuminate some bits of this coloured stuff and another layer would illuminate this outline. They would fall in each other's way like that one did on the CRAPS sign.

Yeah. The more I look at that one, the more I like it. But I'm seeing this one because the images are more....

Well, they're similar so maybe if we did one of the two it would be enough. And this one has some hint of what else is in the landscape. That one seemed to lose it.

That's why I liked that one. The background, the mountains there are nice. And that's an easy...

So, maybe we could plan to do this one in that technique with...So you have two strings of light in that sign. One is red and what's the other one?

It's yellow. Really, our yellow is more truly an orange colour though.

Well, the green might be nice.

Oh, green, yes.

Outline the trees in a green and then blue highlights showing a little more of the lower part there.

Yes, and then we still have space to slide in a piece of acrylic or something. In fact that housing that holds.....the double housing holds two thick ones and two thin ones, Right?

Yeah.

So we could have actually writing screened on to a panel.

So well, if you wanted writing on the front. Well, you need writing on the front.

Yeah.

So we'll see the wall through it?

Yeah. We can see right through.

That would be interesting.

This would actually be on an acetate and you could see right through it.

Maybe we could just put a print on a piece of acetate and try it.

Well it depends what the wall's like behind. A dark text on a dark wall wouldn't show up that well.

Well, it's a white wall.

Oh.

I have the option to use a sheet of black acrylic behind it. However, I don't know if I'd want to break up the wall like that.

Yeah.

One thing about the white wall is that you get shadows.

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