Note Painting

Note Painting© is an artistic image coded on the staves. Geometrical shape of the image is hidden in the system of symbols (“notes”) which enables reading and placing a painterly composition on the staff. (Most often it is connected with its performing.)

If the picture isn’t performed it will be saved only in the form of a painterly composition.
So as to encode the image one uses the notation similar to musical notes, including: staves, clefs, area dividing symbols, line drawing symbols, numbers and the letters of the alphabet. The language of the code is still developing and evolving. The rules of using these elements and their meaning are rigidly defined and described in my Code Dictionary – Fig 01.

Fig 01 – Note Painting Dictionary in Polish language – version 4.0

NP Dictionary – Polish

By using this system one can code various geometrical shapes. It is possible to transfer the notation into a picture in optional form (e.g. square, rectangular, trapezium or other quadrangular shape) – then the picture will get adjusted to that format and will accept its shape. The primary principles of the composition are intact, yet the visual effect will differ depending on the chosen format. While transferring the picture, one can also change the colours, the way of covering as well as the texture.

The relation between a painterly composition and a particu-lar picture bears resemblance to the relation between the score and a piece of music being performed. The principle of perfor-ming the picture is analogical to playing a piece of music from the score. Just like in music; either the creator and the performer are important.

They are connected by the work of art coded in the form of notation. The creator and the performer are not limited by time or distance.

Performing the composition is not devoid of some individual features because if the whole process is carried out in the traditional way (e.g. oil painting, drawing) then the characteristic features of the performer will show. It is common for the performer to decide on:
a) the size, the format and the shape of the ground
b) the tools he/she will be using to perform it
c) the technique of realizing it
d) the use of colour (unless it is rigidly defined) as well as the way
of placing the colour or structure
e) the way he/she will hang it at an exhibition or place it in space
f) the number of performed pictures.

Also, here is scope for theorizing. Either the creator and the performer can sign the picture. The work of art is created by two distinct artists: the composer and the performer.
Maybe it would be better to keep the code secret?
Images hidden in the theory of original notation would be created.

Fig 02 – Pictures with code