Wood, Debora. Imaging by Numbers: A Historical View of the Computer Print. Northwestern University Press, 2008. Catalogue of the exhibition held at the Mary and Leigh Block Museum of Art, Northwestern University, Illinois, 18 January - 6 April, 2008. ISBN 0-8101-2505-6.
Wands, Bruce. Art of the digital age. London: Thames & Hudson, 2006. p.74
"Because of their uniquely digital nature, these pictures are unrealizable with other methodologies. Rather than disguising pixels, I have made them the central element of my art-making. Since the early 1970s I have been deeply involved with abstract drawing and with the elaboration of complex linear images." - Mark Wilson. (Text alongside illustration of PSC31.)
Reas, Casey, & McWilliams, Chandler. Form+Code in Design, Art, and Architecture. Princeton, 2010.
Digital inkjet print on paper, 'PSC31', by Mark Wilson, 2003.
Height: 111.4 cm, Width: 91.9 cm
Digital Pioneers (Victoria & Albert Museum 07/12/2009-20/06/2010)
Prints & Drawings Study Room, room 315
Mark Wilson born 1943
In his earlier work, Wilson used pen plotters to create highly complex images. He then switched to using large format inkjet printers, developing his own software to create prints such as this one. The computer program selects the shapes and colours. The artist then chooses which versions should be printed.
Digital inkjet print
Given by Mark Wilson
Museum no. E.533-2008 [07/12/2009 - 20/06/2010]
Mark Wilson is considered to be one of the pioneers of digital image making. In 1980, Wilson’s interest in geometricism and technology led him to purchase a microcomputer and to teach himself computer programming. The result was a series of early monochrome plotter drawings, produced in the late eighties and early nineties, of which three are now in the Patric Prince Collection at the V&A. Wilson subsequentely adapted the software that he had written for the plotter drawings, and created digital files that were sent to a large format archival printer to produce highly detailed prints such as this one. The digital file was generated using the PostScript programming language, which ensured that the images could be printed out as the artist intended.
To create large digital prints such as this one, Wilson ran the computer software several times to produce a large number of images. He then selected and saved the images he considered most successful, and drew them together to produce one composite image that combined elements of the images already produced. The final appearance of the print was dependent on the artist's own editing process.