In the News
1. “Artist Duke Riley revisits maritime history through obsessive craft” – The Conversation
Recent coverage highlights how Duke Riley continues to explore forgotten maritime stories using detailed, labor-intensive techniques. His works often revive lost histories of sailors, piracy, and trade routes, showing how past systems still shape modern life. The article notes that his art is not just visual—it is research, storytelling, and endurance combined.
Source: https://theconversation.com/
2. “Large-scale installations return to public spaces after pandemic” – Reuters
Reuters reported on the return of large outdoor artworks, including projects similar to Riley’s public spectacles. His past works, like nighttime performances using animals and light, are used as examples of how art can transform city spaces into shared experiences.
Source: https://www.reuters.com/
3. “Why craft is making a comeback in contemporary art” – Wired
Wired discusses how artists like Riley are bringing back traditional techniques such as engraving and hand-drawing. In a digital age, slow, manual work stands out. Riley’s detailed ink drawings and carved materials are cited as examples of how “time” itself becomes part of the artwork.
Source: https://www.wired.com/
What do you think?
1] Why would an artist choose to spend hundreds of hours on one drawing?
2] Have you ever repeated the same action many times? What happened to your focus?
3] Why might using unusual materials make an artwork more interesting?
4] If you drew the same line 1,000 times, how would your hand change?
5] Why do people value handmade objects more than machine-made ones?
6] What does it feel like to work very slowly on something?
7] Why might an artist choose ink instead of digital tools?
8] If you found an old object, how could you turn it into art?
9] Why do maps make people curious?
10] What happens when art leaves the gallery and enters public space?
11] Why might repetition be calming—or frustrating?
12] If you made art using only one material, what would you choose?
13] Why do details matter in large artworks?
14] How can materials carry meaning, not just function?
15] Why would an artist choose something fragile, like bone or paper?
16] What makes an artwork feel “alive”?
17] Why do people gather to watch large-scale art events?
18] How can history be shown without using words?
19] What is the difference between decoration and meaning?
20] Why might an artist intentionally make work difficult to produce?
Did You Know?
• Duke Riley once trained pigeons to fly in patterns carrying LED lights, creating a moving artwork in the sky over New York in 2016.
• Many of his detailed drawings are inspired by scrimshaw, a technique used by 19th-century sailors who carved images into whale bones during long voyages.
• Riley often spends hundreds to thousands of hours on a single piece, treating time as part of the material.
• Slightly strange fact: Traditional scrimshaw sometimes used real whale teeth and bones taken during hunts—meaning some historical artworks were literally carved into parts of dead animals.
Drawing with Ink, Maps, and Repetition
Duke Riley’s drawings often begin with ink on paper, a simple combination that becomes complex through time. He uses fine pens to build images made of thousands of tiny marks. These are not quick sketches. Some works take months. The subject is often maritime history—ships, battles, trade routes—especially connected to New York Harbor. His lines are controlled but slightly irregular, showing the human hand. Unlike digital drawing, ink does not forgive mistakes. This creates tension: every line matters. The viewer can almost feel the artist’s concentration through the density of marks.
1] Why does ink create more pressure than digital drawing?
2] What does a “human line” look like compared to a machine line?
3] Why might mistakes be important in handmade art?
4] Art Exercise: Draw a small object (like a cup) using only ink. No erasing. Work slowly for 20 minutes.
5] Art Exercise: Fill a page using only dots (stippling). Observe how tone appears.
Riley often uses maps as a base structure. Maps are not just background—they carry meaning. A map shows control, borders, and movement. When Riley draws over maps, he mixes fact and imagination. Old naval routes, pirate paths, and trade systems become visual patterns. This layering creates a conversation between history and art. You are not just looking at an image—you are reading a system. For an artist, this is powerful: a map already has structure, so you can focus on adding interpretation rather than starting from nothing.
1] Why do maps already feel meaningful before drawing on them?
2] How can drawing change the meaning of a map?
3] Why do people enjoy looking at maps even without text?
4] Art Exercise: Print or draw a simple map. Add your own imaginary routes or symbols.
5] Art Exercise: Take a real place you know and redraw it from memory, changing details.
Repetition is central to Riley’s technique. He may draw the same shape hundreds of times—waves, lines, ships, patterns. This is not inefficient; it is intentional. Repetition creates rhythm, like music. It also builds texture and density. Over time, the artist enters a focused state where the hand works almost automatically. This is similar to meditation, but with visual output. The result is not just an image—it is a record of time. You can “see” the hours in the artwork, like growth rings in a tree.
1] How does repetition change your focus over time?
2] Why does repeated pattern feel satisfying to look at?
3] What is the difference between boring repetition and meaningful repetition?
4] Art Exercise: Draw one simple shape (like a wave or leaf) 200 times. Observe how it changes.
5] Art Exercise: Create a pattern that fills a page without planning ahead.
His compositions are often dense and overwhelming, but carefully controlled. At first glance, they look chaotic. But when you look closer, there is structure: clusters, spacing, direction. Riley uses contrast—dense areas next to empty space—to guide the eye. This is important for any artist. Detail alone is not enough. You must control where the viewer looks first, second, and last. Riley’s work rewards slow viewing. It teaches patience, both in making and in seeing.
1] Why is empty space important in detailed artwork?
2] How can you guide someone’s eye without using words?
3] What happens if everything in an artwork has equal detail?
4] Art Exercise: Create a drawing with one very dense area and one empty area.
5] Art Exercise: Look at your drawing from far away. Where does your eye go first?
Unusual Materials: Bones, Flags, and Found Objects
Duke Riley is known for choosing materials that already carry meaning. One example is his use of bone, inspired by historical scrimshaw made by sailors in the 1800s. These sailors spent long months at sea and carved images into whale teeth or bones to pass time. Riley adapts this method, sometimes using synthetic materials, sometimes real ones, but always keeping the visual language. The result feels historical, even when the message is modern. The surface is smooth but fragile, and the lines must be precise. This forces the artist to slow down and respect the material.
1] Why does using bone or similar material change how you draw?
2] What feeling do fragile materials create in the viewer?
3] Why might an artist use historical techniques today?
4] Art Exercise: Draw on an unusual surface (cardboard, wood, fabric). Notice the difference.
5] Art Exercise: Try scratching lines into a soft surface (like soap or clay) instead of drawing.
Another key material Riley uses is flags, especially maritime signal flags. These flags were historically used by ships to communicate across distance using color and pattern. Riley recreates and modifies them, sometimes combining traditional designs with modern symbols. A flag is not just fabric—it represents identity, power, and communication. By changing a flag, even slightly, the artist changes its message. This is a strong example of how material and meaning are connected. The viewer reads the object both visually and culturally.
1] Why do flags feel powerful even without words?
2] How can color and pattern act as language?
3] What happens when you change a familiar symbol?
4] Art Exercise: Design your own flag using only shapes and colors.
5] Art Exercise: Take an existing symbol and alter it to change its meaning.
Riley also works with found objects—items that were not originally made as art. These can include old tools, ship parts, or everyday materials. The idea is simple but powerful: instead of creating from nothing, you transform something that already exists. This connects the artwork to real life. Found objects carry history, wear, and context. When placed in a gallery, they force the viewer to reconsider what they are seeing. Is it still just an object, or is it now something else? This tension is central to contemporary art.
1] Why does context change how we see an object?
2] What kind of objects could become art in your environment?
3] Why might an artist avoid using “new” materials?
4] Art Exercise: Find three everyday objects and arrange them as an artwork.
5] Art Exercise: Choose one object and change it slightly to give it new meaning.
Material choice in Riley’s work is never random. Each material connects to history, labor, or communication. Bone links to maritime survival. Flags link to signaling and identity. Found objects link to daily life and reuse. This teaches an important lesson: materials are not neutral. They speak. As an artist, choosing a material is like choosing a word in a sentence. The wrong choice weakens the meaning. The right choice strengthens it without explanation.
1] Why is material choice like choosing words?
2] How can materials “speak” without text?
3] What happens if the material does not match the idea?
4] Art Exercise: Choose a concept (memory, fear, travel) and select a material that fits it.
5] Art Exercise: Create a small artwork where the material is the main message.
Large-Scale Installations and Public Space
Duke Riley does not only work on paper or small objects. He also creates large-scale installations, often outdoors, where the artwork interacts with the environment. One of his most well-known projects, Fly by Night (2016), involved thousands of pigeons flying over New York City carrying small LED lights. The result was a moving, glowing pattern in the night sky. This is important: the artwork was not a fixed object. It was temporary, alive, and constantly changing. The audience had to be present at that moment to experience it.
1] Why does a temporary artwork feel different from a permanent one?
2] How does movement change the way we see art?
3] Why might an artist choose animals as part of an artwork?
4] Art Exercise: Design an artwork that only exists for 10 minutes. What happens during that time?
5] Art Exercise: Imagine using movement (people, wind, light) as part of your artwork.
Public space changes how art is experienced. In a gallery, people expect to see art. Outside, they do not. This creates surprise. Riley uses this to his advantage. His works often appear in places like harbors, rooftops, or open city areas. These locations are not neutral—they have history, noise, weather, and people passing by. The artwork must compete with real life. This forces the artist to think differently. Scale, visibility, and timing become important. A small detail that works in a gallery may disappear outdoors.
1] Why is surprise important in public art?
2] How does location affect meaning?
3] What challenges exist when showing art outside?
4] Art Exercise: Choose a location (street, park, room) and design an artwork for it.
5] Art Exercise: Visit a place and imagine what kind of artwork would fit there.
Riley’s installations often involve systems and coordination. Training pigeons, organizing lights, planning timing—this is not spontaneous. It requires planning similar to engineering. This shows another side of art: problem-solving. The artist must consider logistics, safety, and behavior. For example, pigeons do not always fly perfectly. Weather can change outcomes. These uncertainties become part of the artwork. Instead of controlling everything, Riley works with unpredictability.
1] Why is planning important in large artworks?
2] How can unpredictability improve an artwork?
3] What skills beyond drawing are needed here?
4] Art Exercise: Plan a group artwork involving at least 3 people. What roles are needed?
5] Art Exercise: Create something that depends on chance (wind, gravity, random choice).
Large-scale works also create shared experiences. When many people watch the same event, the artwork becomes social. People talk, react, and remember together. This is different from quietly viewing a painting alone. Riley’s work often builds this collective moment. The artwork exists not only in space, but also in memory. After it ends, what remains is the story people tell. This shows that art does not always need to be permanent to be meaningful.
1] Why do shared experiences feel stronger than individual ones?
2] What remains after temporary art disappears?
3] How can art create memory instead of objects?
4] Art Exercise: Design an artwork that people experience together, not alone.
5] Art Exercise: Think of a past event you remember clearly. What made it memorable?
Craftsmanship vs Concept: Where Skill Meets Idea
Duke Riley’s work sits between two important ideas in art: craftsmanship and concept. Craftsmanship means high technical skill—clean lines, control, precision. Concept means the idea behind the work. Some artists focus only on ideas, even if the work looks simple. Others focus on skill without deeper meaning. Riley combines both. His drawings are extremely detailed, showing years of practice, but they also carry strong ideas about history, labor, and systems. This balance is difficult. If skill is too dominant, the work becomes decoration. If idea is too dominant, the work can feel empty.
1] What is the difference between skill and idea in art?
2] Why is it difficult to balance both?
3] What happens when one is missing?
4] Art Exercise: Create a simple drawing with a strong idea behind it.
5] Art Exercise: Practice one technique (lines, shading) for 30 minutes without focusing on meaning.
Riley’s work shows that time is a material. When he spends hundreds of hours on a piece, that time becomes visible. The viewer may not know the exact number of hours, but they feel the effort. This creates respect and attention. In a fast digital world, slow work stands out. It asks the viewer to slow down as well. This is an important lesson: how long something takes can change how it is valued. Time is not wasted—it is embedded in the work.
1] Why can time increase the value of an artwork?
2] How can viewers “feel” time in a piece?
3] Why is slow work rare today?
4] Art Exercise: Work on one small piece for 1 hour without stopping.
5] Art Exercise: Compare a quick sketch and a slow drawing. What changes?
Another key idea is constraint. Riley often limits himself—using only ink, or only certain patterns, or traditional methods like scrimshaw. At first, this seems restrictive. But constraints actually help creativity. When choices are limited, decisions become clearer. Instead of asking “What should I do?” the artist asks “How far can I go within this rule?” This pushes deeper exploration. Many strong artworks come from strict limits, not total freedom.
1] Why can limits improve creativity?
2] What kind of rules could you set for yourself?
3] How does limitation change your thinking?
4] Art Exercise: Create a drawing using only one color.
5] Art Exercise: Draw using only straight lines, no curves.
Finally, Riley’s work teaches that art can be serious and playful at the same time. Training pigeons to carry lights is unusual, even humorous. But behind it is deep research and planning. This combination keeps the work engaging. If art is too serious, it may feel distant. If it is only playful, it may lack depth. Riley moves between both. This is a useful approach: allow curiosity, experimentation, and even risk. Not every idea needs to be safe or perfect.
1] Why is play important in art?
2] How can humor exist in serious work?
3] Why do unusual ideas attract attention?
4] Art Exercise: Create something slightly absurd but meaningful.
5] Art Exercise: Combine two unrelated ideas into one artwork.
HDPE Scrimshaw
Working with HDPE (high-density polyethylene, common in bottle caps, cutting boards, containers) is actually a very good modern substitute for traditional scrimshaw. It behaves differently from bone, but you can still get very fine engraved lines if you control your pressure and surface.
Here is a clear, practical method you can follow.
1. Prepare the Surface (This Step Matters Most)
HDPE is naturally slightly waxy and slippery, which makes engraving harder than bone.
What to do:
- Cut a flat piece (about postcard size is ideal to start)
- Sand the surface lightly with 400–800 grit sandpaper
- Then go finer (1000–2000 grit) if you want smoother results
- Wipe clean with alcohol or soap (remove oils)
Goal:
You want a matte, slightly grippy surface, not shiny plastic.
Common mistake:
If you skip sanding, your tool will slide and your lines will look weak or messy.
2. Transfer or Plan Your Image
Scrimshaw is slow. You don’t improvise everything.
Options:
- Draw directly with pencil (lightly)
- Tape a printed image and trace over it
- Use carbon paper
Tip:
Choose line-based images (ships, maps, animals, patterns). Avoid shading at first.
3. Engraving Technique (The Core Skill)
Use:
- Needle tool, pin, or engraving stylus
- Even a sewing needle in a pen holder works
How to engrave:
- Hold like a pen, but lower angle (almost dragging)
- Pull the tool toward you (don’t push)
- Use light pressure first, then repeat lines to deepen
Important concept:
You are not “cutting deep.”
You are scratching controlled micro-lines.
Line control:
- One pass = thin, light line
- Multiple passes = darker, thicker line
4. Build Tone (Classic Scrimshaw Method)
Scrimshaw does not use shading like pencil. It uses dots and lines.
Two main methods:
A) Cross-hatching
- Draw lines in one direction
- Add another layer crossing it
B) Stippling (dots)
- Tap small dots repeatedly
- More dots = darker area
Rule:
Darkness = density, not pressure.
5. Ink Rubbing (Magic Step)
This is where the image appears clearly.
Use:
- Black ink, India ink, or even diluted acrylic paint
Process:
- Rub ink over the whole surface
- Let it sit for 10–30 seconds
- Wipe off surface with cloth or paper towel
Result:
- Ink stays in scratches
- Surface becomes clean
- Lines turn visible and sharp
You can repeat this multiple times during the process.
6. Clean and Finish
- Lightly wipe again after drying
- Optional: polish very gently with soft cloth
- Do NOT over-sand after engraving (you’ll lose lines)
Key Differences: HDPE vs Bone
- HDPE is softer → easier to scratch, but easier to overdo
- Bone is harder → cleaner lines, but less forgiving
- HDPE lines can look slightly “fuzzy” → control comes from repetition
Practice Exercises (Important)
1] Line Control Drill
Draw 20 straight lines, same length. Try to make them identical.
2] Pressure Test
Make 5 lines, each darker than the last using repeated passes (not force).
3] Dot Gradient
Create a square that goes from light to dark using only dots.
4] Mini Project
Engrave a simple wave pattern or small ship silhouette.
Advanced Tip (Very Useful)
Warm the plastic slightly (not hot, just warm to touch).
This can make engraving smoother—but test first.
Mindset (This is Important)
Scrimshaw is about:
- Patience
- Control
- Accepting imperfection
If you rush, it looks bad.
If you repeat carefully, it looks intentional.
The Electronics Deli 