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Unlike previous works in the series, this drawing uses tinted paper. To preserve the white flowers, I first had to fill their shapes with dense hatch patterns using an opaque white pigment ink. Those patterns did not exist in the original Garden, Monoliths algorithm, which meant extending the code to generate a more capable SVG specifically for plotting. The density of the composition added another layer of complexity. As the landscape recedes toward the horizon, the drawing gradually switches to increasingly finer technical pens to preserve detail without saturating the paper. Throughout the process, several pen changes are required. This piece also marks an important milestone in the evolution of the project. It was the first Garden, Monoliths drawing in which the transparent colour washes were applied by the plotter itself. Until then, every colour layer had been painted by hand: an extremely time-consuming process. Achieving this required writing new software capable of translating the digital colour information into plotting instructions that reproduced the translucent appearance of the original artwork. https://zancan.art/https://zancan.art/zm2Data/Db/zm2PrintInstances/394_details/zm2PrintInstancesDetails_medias_2_video/gardenmonoliths89_delronde_720.mp4 https://zancan.art/Video/403-plot-garden-monoliths-128 https://zancan.art/zm2Data/Db/zm2PrintInstances/403_details/zm2PrintInstancesDetails_medias_3_vignette-v1.jpg Garden, Monoliths #128 - Pen-plotter drawing - edition 1 - 50 x 50 cm This video documents the creation of a dense pen-plotted drawing. Within the Garden, Monoliths series, iteration #128 is special: it is one of only two artworks featuring the “Circle Crop” trait, where the garden is contained within a circular composition. Unlike many other iterations, this piece contains no colour layer and is composed entirely of line work, making it particularly well suited to pen plotting. The drawing still contains a high level of detail, which requires careful choices in pen size and ink density so that the lines remain readable in the more complex areas, especially near the upper part of the sheet. The drawing is executed on smooth, aged-yellow 300 gsm paper using Rotring Isograph technical pens in 0.8 mm, 0.4 mm, 0.3 mm and 0.2 mm. https://zancan.art/https://zancan.art/zm2Data/Db/zm2PrintInstances/403_details/zm2PrintInstancesDetails_medias_3_video/garden_monoliths128_cropcircle_hd_720p.mp4 https://zancan.art/Video/541-plot-kinder-garden-monuments-30 https://zancan.art/zm2Data/Db/zm2PrintInstances/541_details/zm2PrintInstancesDetails_medias_3_vignette-v1.jpg (kinder)Garden, Monuments #30 - Pen-plotter drawing - edition 1 - 49.5 x 35.8 cm This video documents the creation of a pen-plotted version of (kinder)Garden, Monuments #30, a generative artwork by Zancan and Yazid. Since this piece had already been produced as a Fine Art Print using an inkjet printer, the pen-plotted version offers an interesting comparison between two very different ways of bringing the same digital artwork into the physical world. My goal was to remain as faithful as possible to the original digital version. At the same time, pen plotting is an extremely sensitive process that requires constant supervision and human intervention at every stage. The creation of this drawing involved numerous technical and artistic decisions, including the choice of technical pens, custom ink mixtures, the use of a graphite mechanical pencil, and the manual application of opaque white pigmented ink with a brush. The entire process took several hours and demanded constant concentration. A single mistake during the inking stage would have been almost impossible to recover from. https://zancan.art/https://zancan.art/zm2Data/Db/zm2PrintInstances/541_details/zm2PrintInstancesDetails_medias_3_video/_kinder_garden_monuments_30_720.mp4 https://zancan.art/Video/565-plot-decal-by-zancan-99 https://zancan.art/zm2Data/Db/zm2PrintInstances/565_details/zm2PrintInstancesDetails_medias_1_vignette-v1.jpg Decal by Zancan #99 - Pen-plotter drawing - edition 1 - 42 x 42 cm Decal is a 100-edition long-form generative art series created by Zancan to celebrate the vibrant community of Web3 art collectors gathered around Deca. The project’s premise was to create a work in his visual language using the Deca logo (the five diagonal stripes) as a fixed compositional element. The logo was reconstructed entirely with programming code and woven into the artist’s existing framework of generative vegetation. The result is a dense landscape that blurs the boundaries between perspective, abstraction and figuration, while relying exclusively on fixed-width strokes. This constraint also makes the artwork naturally suited to future pen-plotted physical editions. This video documents the plotting of Decal #99. The two-colour palette was developed using specific inks that had been carefully tested beforehand. Long plotting sessions involving continuous line work can be demanding on a pen plotter, particularly when working with textured watercolour paper, custom inks and technical pens such as Rotring Isographs. https://zancan.art/https://zancan.art/zm2Data/Db/zm2PrintInstances/565_details/zm2PrintInstancesDetails_medias_1_video/zancandecalhd720p.mp4 https://zancan.art/Video/618-stitch-everything-made-simple https://zancan.art/zm2Data/Db/zm2PrintInstances/618_details/zm2PrintInstancesDetails_medias_2_vignette-v1.jpg Everything, made simple - Generative Embroidery - edition 1 - 42 x 42 cm In 2022, I released two artworks composed entirely of a single continuous line. The first, A Long Thread, was conceived as a metaphor for the life of Herbert W. Franke: a focused journey of relentless curiosity and creation, marked by countless unexpected turns. The second piece, Everything, made simple, renders an intricate garden using a single uninterrupted stroke. It plays on the idea that everything in life is connected, suggesting that even the most complex sequence of seemingly unrelated events can ultimately be reduced to a single continuous path. In 2025, I presented embroidered versions of both works at my solo exhibition Tree_Line at bitforms gallery in New York. Embroidery proved to be a natural extension of the original concept. A single stitched thread became the physical embodiment of the algorithm’s uninterrupted line, allowing the central idea behind the works to exist as a tangible object rather than a digital drawing. The embroidery machine followed that single thread for several hours without ever changing it, producing what is, quite literally, a single-thread artwork. The only exception lay beneath the fabric: the bobbin, whose limited capacity required replacement seven times before the embroidery was complete. https://zancan.art/https://zancan.art/zm2Data/Db/zm2PrintInstances/618_details/zm2PrintInstancesDetails_medias_2_video/everything_made_simple_hd_720p.mp4