Instruction Sent

Begin with square canvas/ board or other painting starting point of your choosing, of reasonable size. On top of which construct a 9×9 grid, leaving a small amount of space around the edge.

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> In each of the 81 squares starting from the top left, you are to then draw two lines, although sometimes overlapping so effectively become one, which span out from the centre of each square to the edge as various integers of 45 degrees.

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> Imagine the same mechanism with which the hands of a clock move. Square one will have both lines from the centre vertically up, creating a single line. Square two will have one line vertically up, the other on the next integer of 45 degrees so as it connects with the top right corner. Square three will have a right angle in the top right of the square. Continue along the row until the end, where the two lines should meet up again.

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> Continue this system on the second row, except now the line which has been in the same place on the first row moves forward one place so it is as 45 degrees to the top right of the square. The other line begins at the top again. Complete the grid according to this system.

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> Then in each square, fill in between the two lines drawn, in black, but still right to the squares edge. This will result in a span of both joining and separate, flat, black shapes. There should be areas of more black in the bottom left and top right of the canvas. A stripe of rotating lines which cannot be filled should extend from top left to bottom right where two lines have overlapped.

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> The final stage is to then imagine each of these now black filled shapes is the front face of a three-dimensional form. Extend each one back giving it depth by drawing lines at 45 degrees from the corners or vertices. The direction and distance of extension is up to you, but all should be of the same angle with no perspective and enough of the background should still be visible to be in proportion to the black shapes.

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> I say “black” as that would probably be easiest to define in ones head, but I will leave colour interpretation up to you in hope that you don’t entirely collapse from boredom, as long as a basic principle of three tones are followed. Dark for faces or filled shapes. Light for the background, space not filled. Mid-tone for the extended 3D edges.