Over the last few days everything has come together nicely and I’ve been able to produce this beautiful work below. It’s a visual representation of every imaged work, sorted by date of production, in the Prints and Printmaking collection. Click to enlarge.
This version is relatively small, and the data cuts off at 1980. The larger version has more data and bigger thumbnails, allowing you to explore part of the national collection up close and in impressive detail.
7 decades of Australian Printmaking in 300px.
I’m very pleased.
Well it’s been a bit of an uphill battle over the last few days, but finally I’ve had some nice breakthroughs.
I’ll expand on the thinking and process when I get a bit more time, but for now, some screenshots (captions under).
Playing around with the size of the artists box on screen (colour relates to gender)
Size of box directly related to how many works by that artist are in the collection.
All artists with colour set to amount of works.
Attaching artist id to individual works (a lot harder than you would think)
The big works grid. All works in the collection at once, with a rollover showing title, year and artist ID. No actual artist name yet, that’s the next step.
To come: data mining process. Sorting, colours, actual artists name.
I’ve spent the last few weeks looking at and developing my understanding of the data. The grid below is important because it’d the first that uses data about the actual works produced. The boxes remained coloured by gender, but they are sized by the mount of works they have in the collection. In this example, Mike Parr has 230 works, therefore his box in the grid is 230 x 230px wide. You can still make out lots of 1 x 1 boxes at the top, these are artists that just have 1 work in the collection. The huge white box at the bottom is actually a number of boxes for different printmaking collectives, the key one being the Australian Print Workshop with over 3200 works.