s45b0 The Rykami Yasmyne Sketchbook

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I began to keep sketchbooks in the latter three years of the 5-year professional bachelor program in architecture at Illinois Institute of Technology. In late 1990, I developed a realistic pencil technique that involved 2B, HB, and 4H lead for a wide gamut of gray. This style became known as “rucisaime”. The first sketchbook, with a long portrait of the dedicatee Arebinâ, the Rykami Arebine, had developed over two summers and was lost. In it, the rucisaime technique was sharpened. I had a long-standing problem with finishing work because the technique was too rich. With rucisaime in a sketchbook, I could fully develop a drawing in a couple hours.

After the loss of Rykami Arebine, I began Rykami Yasmyne. A few halting sketches started the book and it was laid aside until the semester in Tuscany in spring 1992. The sketchbook became the vehicle for exploration of the marvels of Italy, Paris, and Barcelona, all rendered in rucisaime. The book is more experimental than the lost Rykami Arebine, and includes many unfinished studies. In subsequent college years, additional drawings were added in rucisaime. The sketchbook saw peak development during the spring 1992 semester in Italy and the subsequent travel around Europe. It received some sketches into the remaining part of 1992 before development ceased.

Like many of the class notes I kept in high school and college, the back of the sketchbook was reserved for exploring the creation of the conlang lrixe, an endeavor partaken between age 13 and 28, and now only finds use in passwords, life-phase names, and retrospectives. An outcropping of this endeavor, having developed shortly before it, is a fascination with number bases. The tayya dates, four-number time codes on most of my work including these in the Rykami Yasmyne, are duodecimal days elapsed since 1 July 1970. I'd kept tayya since mid 1985. My explorations reached beyond duodecimal and vigesimal to sexagesimal, so that in the late spring of 1992, I developed a set of numerals later called Argam Arimaxa used to represent numbers in large pure radixes. This is the kernel of the later expansion and reform of argam numerals in 2006-2008 to its modern state.

a06 Castiglion Fiorentino, Italy First impressions of Castiglion Fiorentino, Toscana, Italia	a07 La Collegiata Castiglionese Study of the church that dominates the valley east of town	a08 Tile Unit Studies Study of Italian rural roof tiles	a09 Tree Studies Study of trees, backdrops planned but never finished
a0b Southern Overlook View of the panorama south of Castiglion Fiorentino (unfinished)	a11 Studio Detail Studies Several vignettes detailing construction on a rainy day in the studio	a12 Camélia vs Ðebñinâ Stylized drawings of “Camélia” and “Ðebñinâ”, which means “Fair One”	a13 Cortona Studies Sketches in Cortona and Montecchio, and one from a dream
a14 Akimakinâ and Avikari Studies of classmates and Venetian landmarks	a16 Venice Studies Study of a venetian canal over time, and a stylistic study of the Piazza S. Marco in Venice	a17 Italian Clouds Their clouds are surely no different than ours but somehow merited study	a18 Siena Studies Not much time in Siena, and we wanted to explore. Still a few sketches resulted
a1a Mairenâ Whimsical sketches of friends in Italy	a20 Etruscan Tomb at Cerveteri This on-site cross-section study won the 1995 AIA-CPC Award for Architectural Drawing	a24 Paris Rush 1992 On site sketches in Paris, France	j4656 Arebinâ Reconstructed dedication page to the lost Rykami Arebine
j4741 Nei Panni di una Bomba Study from an Italian magazine	j475a Amaryâ Commissioned portrait	b80 The Argam Arimaxa Numerals 1992 An example of a transdecimal numeral set that had been developing since 1983	b81 I Campanili d'Italia Various vignettes of bell towers, in Cortona, Montecchio Val di Chiana, Arezzo, and the Badia of Florence

This page last modified Sunday 8 April 2012.

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