Similarly related to the colorful artistry of Chuck Anderson, is Daniel Eatock and (in particular) his Pantone Pen Prints.



He set pens in a frame and stood them, on their nibs, on a large stack of paper.

Here are the specs from his site:

Pantone Pen Print
Dimensions: SRA1 640 x 900mm
Edition Size: 73 original prints

– One complete set of Letraset TRIA Pantone markers
– arranged in the colour spectrum
– left for one month
– resting on their nibs
– on a stack of 500 SRA1 sheets
– 70gsm uncoated white paper

The edition number was determined by the number of sheets the ink bled through from 1 through the possible 500.

The numbering of each sheet corresponds to the position it was within the stack and also determined its value.

The final sheet the ink reached, (furthest from the top) was numbered 1 / 73 and valued at £1, the one above numbered 2 / 73 and valued at £2 etc. The top sheet (the sheet the pens rested on) was numbered 73 / 73 and valued at £73

I find this simply amazing. I think I'm even more amazed by a statement that came with his work:

Eatock's predictive construct removes the artist's hand from the pen, reverses the role of the paper, and allows its characteristics and positioning to become the most influential aspect of the work. Balanced on their nibs each of a set of 288 felt tip pens releases ink that expands into the layers of a ream of paper, making each layer of this multi-print different. This predicted variety is translated into a gambling tension for the consumer that chooses to purchase an unknown result on an unseen layer.

Makes you wonder, huh. "Why didn't I think of that?"