How a Plotted Path Becomes an Acrylic Painting
Acrylic colours are placed on the canvas first, then carried and mixed by a moving brush.
The Lineage workflow from a selected SVG to acrylic paint, synthetic brush movement, colour mixing, drying, and final selection.
View related workThe Lineage works begin with a generated line structure, but they are painted directly on canvas. The selected structure becomes a guide for movement rather than an image printed or projected onto the surface.
The current works measure 50 x 70 cm and are made on cotton canvas prepared with acrylic gesso. Their final appearance depends on the meeting of planned movement, separately placed colours, a synthetic brush, and the resistance of the canvas.
Preparing the path
Variations are generated in OpenProcessing until a composition feels strong enough to continue. The selected result is exported as an SVG and opened in Inkscape, where its scale and position are adjusted for the real canvas.
The plotter settings are then prepared for the tool: brush height, contact with the surface, and movement speed. The current 50 x 70 cm works are made with an iDraw H SE A2 plotter configured for the brush-based process.
Colour is placed before movement
The acrylic colours are not premixed into a single tone. They are placed separately in planned areas of the canvas before plotting begins. Their position is chosen with possible combinations and transitions in mind, but the exact result cannot be seen in advance.
As the brush travels through several plotted movements, it picks up, carries, blends, thins, and redistributes the paint. A colour may remain distinct in one area and merge with another colour elsewhere on the same canvas.
What changes the painted mark
Brush height, speed, direction, paint load, and the amount of contact with the canvas affect the mark. Turns can spread the bristles differently from straighter passages, while areas with more paint can leave thicker or more mixed surfaces.
Depending on the work, acrylic paint may be used directly or adjusted with retarder or acrylic medium. These choices affect open time and movement, but they are secondary to the visual result and are only important publicly when they help explain a particular work.
Observation and final selection
The plotting process is supervised. It can be paused if the brush height, movement speed, or paint distribution needs attention. Small interventions remain possible, but the aim is not to manually repaint the path after the machine has moved through it.
The work is judged only after the paint has dried. If the composition, colour movement, and surface feel resolved, the piece is signed and released. If not, it remains part of the studio archive rather than being presented as a finished Lineage work.