Watch The Colour of Ink on Solarmovie - Free & HD Quality
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00:01:28 You can really make ink from just about anything.
00:01:31 These peach pits were carbonized in an oven for about four hours.
00:01:39 And they started sort of smoking from the inside.
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00:01:49 Crab apples make a really nice intense vinegar that,
00:01:54 when added to bits of New York rust,
00:01:58 create this kind of amazingly pigmented rust water.
00:02:06 This is my prized bit of desert salt.
00:02:09 We could add a little bit.
00:02:11 It will do its magic.
00:02:12 This nice bright blue one here is copper sulfate or copper oxide.
00:02:19 And it's got little bits of copper wire that I've foraged in there.
00:02:23 I'm just beginning this iron liquor.
00:02:28 I love rail spikes as a material, but this is a very particular rail spike,
00:02:34 which is made for one of those mini tracks that goes down into a mine.
00:02:38 And if you make a bouquet of rail spikes,
00:02:42 you get this extraordinary living cauliflower shape.
00:02:47 This has been going for years.
00:02:48 This is another one that's been going for some years.
00:02:53 This is an antique, like, square nail that Martha Abbott, my friend in Rome, found.
00:03:01 Well, I'm curious how the rail spike compares to the antique Roman nail.
00:03:09 This will be the first time I've ever used this.
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00:04:10 Fire sets a sort of starting point for ink.
00:04:17 The little particles of carbon are just floating through the air,
00:04:21 and they land on the inside of this lamp.
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00:04:33 That's an evening's worth of soot.
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00:04:39 But it's just the most silky, satisfying, pure black.
00:04:45 A little gum arabic to bind it.
00:04:50 This was used on papyrus by the Egyptians.
00:04:53 It was the very first ink in China.
00:04:57 It really is ancient ink.
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00:05:03 And that is the precious lamp black.
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00:05:11 So I've been in touch with this master calligrapher in Japan, Koji.
00:05:16 And I'm really excited to send off some of my inks to him.
00:05:19 This one is the lamp black, which responds very much like Japanese sumi ink.
00:05:24 So I'm hoping that this will be close to the kind of ink that Koji is using.
00:05:29 I'm just fascinated to see what Koji's gonna do with this.
00:05:34 This is part of the alchemy, what these materials do in other people's hands,
00:05:39 how they bring them to life.
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00:06:08 Ink began around the same time in China and Egypt.
00:06:13 But it was Japan that perfected it.
00:06:19 And Koji Kakanuma takes the ancient Buddhist art of Japanese calligraphy to
00:06:24 a whole new level.
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00:07:05 [FOREIGN]
00:07:16 High quality sumi ink.
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00:07:54 Acorns are everywhere.
00:08:01 I like to just use the little caps on them.
00:08:04 That's a nice acorn cap there.
00:08:06 And if you add rust to acorn caps, you see that it darkens the water.
00:08:13 You get this beautiful gray, silvery gray color.
00:08:16 [MUSIC]
00:08:20 I guess part of what I love about ink is that in the bottle it's a color, and
00:08:25 when it hits the paper, it's a sort of process.
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00:08:33 I call what I do on paper an ink test because it's a way of showing the active,
00:08:38 alive part of ink, showing what it can do rather than just what it is.
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00:08:56 I still find this hard to fathom, but there's this tiny wasp that gave birth to
00:09:01 the ink that wrote Western civilization.
00:09:04 This wasp lays its eggs on an oak tree.
00:09:08 The tree reacts by growing these galls that house the larva over the winter.
00:09:12 The babies burrow their way out, and then we're left with these nut-like shells
00:09:17 rich in tannins, and you get this ink that bites into the paper and
00:09:20 stays there for centuries.
00:09:22 Oh, there's one.
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00:09:28 It's like right on the leaf there.
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00:09:35 Leonardo da Vinci, the Declaration of Independence, Shakespeare.
00:09:40 Every writer in the Middle Ages, everyone who used a calligraphy pen,
00:09:45 anyone who signed their name for a marriage or death or birth certificate,
00:09:51 did it in a registrar's ink that's made from these amazing little objects.
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00:10:00 We now live in an infinite library of data, but at the same time,
00:10:04 the human record has never been so fragile.
00:10:08 The digital archive of zeros and ones has no materiality.
00:10:14 Like it could just disappear in a second.
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00:10:32 Ink is still the most durable record of the written word,
00:10:38 and for thousands of years, it was the only record.
00:10:42 These are lines of code that go back thousands of years,
00:10:46 but the earliest evidence of ink wasn't found on papyrus or parchment.
00:10:50 The oldest ink is carbon ink made from burning wood or bones.
00:10:55 Its oldest surviving canvas is human skin on the mummified body of Ötzi, the Iceman.
00:11:02 Ötzi was killed by an arrow, and his body was pulled out of a glacier 5,300 years later.
00:11:08 He has 61 tattoos, and it seems they weren't just decorative.
00:11:13 Many aligned with acupuncture points, and his body showed that he had severe arthritis.
00:11:20 From the very beginning, the ritual messaging of ink was mixed with medicine.
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00:13:03 I love the power of black.
00:13:07 I love the contrast of black on any shade of skin.
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00:13:21 I make my own ink.
00:13:24 I try and continually improve it.
00:13:29 The blackest black is always like an eternal search.
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00:13:38 My only thought about ink is how I can make it blacker in a safe way.
00:13:44 I like to make sure it's vegan.
00:13:47 A lot of ink has bones, char, animal bones, glycerin,
00:13:54 things that I don't want them in my body.
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00:14:02 Sometimes I see my work as medicine.
00:14:05 When clients are coming in, they're in a lot of pain, and they want to change their lives.
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00:14:13 And when there's blood, it's a dangerous substance to have around,
00:14:17 so I'm always very aware of how blood is moving and what it's touching.
00:14:25 But I do think of blood in a beautiful way a lot,
00:14:28 that tiny, tiny micro sprinkle on the top of the surface of the skin.
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00:14:37 Sometimes I'll just have that feeling to do something like this, like this.
00:14:40 I've never done this before.
00:14:42 I haven't even sketched it.
00:14:47 So things just pop out, you know?
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00:14:57 It's just an energy of feeling thing, bringing the inside out
00:15:02 and just doing something beautiful that flows with their body.
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00:15:10 I almost quit tattooing because I just couldn't stand to look at one more barbed wire armband
00:15:16 or purple dolphin.
00:15:21 So I changed it up.
00:15:23 Well, I started Two Spirit in 2010 in San Francisco.
00:15:29 I wanted to have it as a black work-only tattoo shop,
00:15:32 and as far as I know, I think that was the first black work-only tattoo shop in the world.
00:15:36 And I had a lot of people, that was a safe space for them,
00:15:40 just as a person that's other.
00:15:42 And I was just wanting that to be a really nice place to go,
00:15:45 "You can come here. It's okay."
00:15:49 And I think that was the first day that I walked into Two Spirit when I started working there.
00:15:54 And I remember the energy was so different.
00:15:57 I mean, all of our clients say that it is totally different.
00:16:00 But even walking in as a tattoo artist who'd worked in tattoo shops for years,
00:16:06 it was not like a place I'd ever been before.
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00:16:26 I love living here. We've gotten used to it.
00:16:28 I've talked to people that have been through like eight and nine fires.
00:16:31 You lost their homes three times.
00:16:33 Three times and rebuilt them.
00:16:34 I mean, it's like California is for tough people.
00:16:37 Yeah.
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00:16:43 I woke up because one of the dogs was barking,
00:16:46 and I looked outside and there were firefighters everywhere.
00:16:49 It was pretty terrifying. I've been through hurricanes.
00:16:51 I've been through flooding, like fire.
00:16:53 It's like, there's nothing you can do.
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00:17:32 I just love the way the alive tree and the dead tree are kind of in a relationship here.
00:17:39 It's like straddle layers.
00:17:44 This year's wildfire and this year's new growth.
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00:18:05 What is that?
00:18:06 It's gum arabic. It's the sap from the acacia tree.
00:18:12 Oh, yeah.
00:18:15 This is way cool.
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00:18:38 That's lovely.
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00:18:45 Oh, that's a nice bit there.
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00:18:53 It's so nice to just go off the page like that.
00:18:56 I can't do that with what I do.
00:19:01 It's so fun to do things with such low risk.
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00:19:12 I never set out to be an ink maker.
00:19:15 It all really started when I picked up a black walnut.
00:19:21 Black walnuts are just one of my favorite materials in the world.
00:19:27 I was living in New York.
00:19:28 I was 20 years old, working as an illustrator for the New York Times.
00:19:32 And I used to get all my supplies at this place called Pearl Paint,
00:19:37 which doesn't exist anymore.
00:19:39 And in that store, I found this bottle of black walnut ink.
00:19:45 And to me, it was this absolute revelation that ink kind of grows on trees.
00:19:53 Fast forward 12 years later, I'm living in Toronto,
00:19:57 and my first child was born, and I got really interested in non-toxic ink.
00:20:03 And I was on my way to work through Queens Park,
00:20:06 and I saw a little label on the tree.
00:20:10 And I thought, I bet that I can make my own black walnut ink.
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00:20:37 I've spent a lot of my life in big buildings, at boardroom tables and in cubicles,
00:20:42 moving little boxes around on a screen as a creative director for large corporations
00:20:48 and a graphic designer for newspapers and magazines.
00:20:52 And there's a ton of ink that goes into all of that.
00:20:56 But once I got out of that world of glass boxes,
00:20:59 I was able to forge for my own color and find my own inks,
00:21:04 which is when the project began to take shape.
00:21:09 Suddenly I had this new role, working with and for nature.
00:21:16 I created the Toronto Ink Company, which is just me,
00:21:21 and I started sending my ink out to artists that I love all around the world.
00:21:26 And then I started getting all this interesting stuff back.
00:21:30 Robert Crumb's lettering is just second to none.
00:21:33 I met him about 10 years ago.
00:21:35 I sort of tracked him down and visited his house in this tiny little medieval town in France.
00:21:41 And we've had a bit of a back and forth over the years.
00:21:44 I supply him with ink.
00:21:46 It's funny, I'd mentioned to Crumb that some of my inks can oxidize or change color over time,
00:21:51 and he got really alarmed.
00:21:54 It was the soot black that I sent him, which really is the oldest ink in the world,
00:22:01 and we have examples of it on the Dead Sea Scrolls,
00:22:06 and it truly lasts for an infinite amount of time.
00:22:12 But that really is just the carbon-based ink.
00:22:15 I mean, most of the ink that I make is alive, it's unpredictable, it's fugitive, it's kind of on the run.
00:22:24 This is from Leanna Fink, sent from Brooklyn, New York.
00:22:28 [laughs]
00:22:31 I really love these things, they're so Brooklyn.
00:22:36 I have a feeling there might be some great tannins in here to try out.
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00:23:07 I am a compulsive drawer, and I draw to figure out things that I don't understand in the world,
00:23:15 such as dating and why people shove you on the sidewalk, and what it means to be a person.
00:23:25 [music]
00:23:33 When I started at the New Yorker, I didn't feel like I fit in.
00:23:38 They're all much older men, and they were kind of mild-mannered and not super artsy,
00:23:45 just like these lovely middle-class New York men in their 80s or so.
00:23:51 [music]
00:23:58 At the beginning, I was trying very hard to make that kind of traditional New Yorker cartoon
00:24:03 that's kind of witty and distanced and well-drawn.
00:24:08 And eventually, I've been able to become a little bit more me,
00:24:13 which is more direct and immediate and angry and unpolished.
00:24:19 The book "Passing for Human" is about being a woman and an artist, an artist who's weird.
00:24:27 This took over my life. It was torture. It took hours to do this page.
00:24:33 And I did it because I was making some kind of a point about women's work,
00:24:39 about mindless labor of sewing or cooking and not being given glory for it
00:24:44 and not getting to use your brain while doing it, and that's not called art.
00:24:50 I brought a few inks for you to try, so maybe you just want to color in what you've done.
00:24:56 [music]
00:24:59 I don't use a ton of color. I always like to be trying to say something,
00:25:04 and I forget what I'm trying to say by adding color. It just feels decorative sometimes.
00:25:09 Wow, this is freaking beautiful.
00:25:15 [music]
00:25:18 These inks feel like they're living. It's like the opposite of digital color.
00:25:23 This feels real.
00:25:26 This is from Leanna Fink. I sent her flowers and horsetail ash,
00:25:40 and this blue-green is the copper oxide that I sent her.
00:25:45 She's given it this sort of dreamy, inky, watery quality.
00:25:51 [music]
00:26:10 The world's oldest ink makers live underwater,
00:26:14 and they've been making ink for 240 million years.
00:26:20 The octopus is a magician. It's using ink for misdirection,
00:26:27 and at the same time, it's kind of a living, floating artwork.
00:26:31 The way that it moves through the world, it's mutating and communicating with color and with ink.
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00:26:41 [thunder]
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00:26:53 This fossil was found in Lebanon, and it's 95 million years old.
00:26:58 Fossils of octopuses are extremely rare,
00:27:02 and I think this is the best-preserved one in the world, actually.
00:27:06 When I got the fossil, this big black blood was in the body,
00:27:12 and it was a large ink sac.
00:27:15 So I scraped out one-third of the ink that was preserved in the fossil,
00:27:21 and I crushed it and sieved it and washed it and gave it to Esther.
00:27:26 [music]
00:27:29 When I mixed it with a little bit of water, I saw that the actual color is still a bit sepia,
00:27:35 the brownish color of today's octopuses.
00:27:39 It's actually quite a lot of work to paint an octopus because they have all those little suction cups.
00:27:44 Every single one is kind of moving on its own and in a different place than the next.
00:27:50 I have three colors here that Jason thought were really good for marine backgrounds.
00:27:58 The sepia color works really well with these blues and greens.
00:28:03 I'm actually going to mix in a little bit of the leftover ink.
00:28:08 So this 95-million-year-old ink is going back into the seawater.
00:28:13 [music]
00:28:23 There's a grim and kind of fascinating history of harvesting color from sea creatures.
00:28:30 The ancient Phoenicians made royal purple from the Murex sea snail,
00:28:34 which was worth more than its weight in gold.
00:28:36 They would crush 10,000 snails just to make enough dye to decorate the hem of a Roman toga,
00:28:42 and they almost wiped out the species in the process.
00:28:47 But there's this small group of indigenous artisans on a remote stretch of Mexico's Pacific coast
00:28:53 that carry on a more humane tradition of harvesting purple from the sea.
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00:29:15 [speaking Spanish]
00:29:26 [speaking Spanish]
00:29:36 [speaking Spanish]
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00:30:21 I think my passion for ink started with the color purple when I was a kid.
00:30:30 It was my mother who introduced me to wild grapes, and we would go out walking along the railway tracks,
00:30:36 which were--the trains were scary to me, but the tracks themselves seemed like a kind of path to another world.
00:30:46 And I remember at the edge of those railway tracks, we once found a little stand of wild grapes.
00:30:57 And I think that in discovering the grapes at the edge of the railway tracks,
00:31:03 that I was seeing for the first time how significant a place can be.
00:31:12 [music]
00:31:25 [speaking Spanish]
00:31:31 Being married to an ink maker is messy.
00:31:35 [speaking Spanish]
00:31:38 It's a bit like living with the cat in the hat.
00:31:41 There's like a pink sink that becomes a pink ceiling that becomes a pink towels.
00:31:47 [speaking Spanish]
00:31:49 One time I found a big blob of purple ink on the ceiling.
00:31:55 It goes up in a huge ball, and it just exploded.
00:31:59 It's like just a weird kind of, yeah, like, environment, I guess.
00:32:05 So it's sort of two sides of the coin.
00:32:07 It's sort of like a crazy mess that's also kind of incredibly beautiful, too.
00:32:13 My God, there's an eagle or something up there in that tree in the back, in the black walnut tree.
00:32:18 You see, there's like a giant, like, bird of prey.
00:32:21 Oh, my God, there's an eagle.
00:32:23 Whoa. Oh, my God, it's beautiful.
00:32:26 What is that?
00:32:27 Look at it, look at it. There it is, there it is.
00:32:30 Oh, it's like a hawk.
00:32:31 I think the raccoons have eaten the hawk.
00:32:34 I was born Jason Sky Logan, and my dad gave me the middle name Sky
00:32:39 because when I was born, I just looked up into the sky,
00:32:43 and there was like a faraway look in my eyes.
00:32:47 And I don't know how old I would have been in this picture.
00:32:50 That looks like seven.
00:32:54 By that time, my mother had already been diagnosed with Hodgkin's disease,
00:32:59 and by the time I was nine, she was dead.
00:33:04 My dad is a United Church minister.
00:33:06 We grew up in a sort of hippie version of a religious household.
00:33:11 We had a deep sense of spirituality, and part of that was about being in nature.
00:33:17 Here's me as a young forager collecting dandelions.
00:33:23 I just collected some dandelions this morning.
00:33:25 I've been on, like, a yellow project.
00:33:29 Here I am playing in the oak leaves.
00:33:31 Like, it's like nothing's changed at all.
00:33:36 I know, and you know, that all of us are broken,
00:33:40 and all of us are whole,
00:33:42 and that in the sharing of the breaking, that we share with each other.
00:33:47 [humming]
00:33:50 Father of night, father of day, father who taketh the darkness away.
00:33:56 But my dad was a real kind of carpenter and builder,
00:34:00 and he's a manic depressive.
00:34:05 My mother was kind of dying from some of my earliest memories.
00:34:12 She was often in the hospital.
00:34:17 There was a film made about her,
00:34:20 and there were, like, cameras kind of in our lives.
00:34:27 I think she might get better,
00:34:29 but I think she wouldn't get better more than I think she would.
00:34:34 So do you think she'll get sicker, or she'll just sort of stay the way she is?
00:34:37 She'll--like Amy said, but she'll probably--
00:34:42 and then she'll probably get sicker and then die.
00:34:49 It felt funny to have a camera in the midst of my family,
00:34:55 and yet that film captured some moments
00:35:01 and some sort of revelations about who my mother was.
00:35:06 All my sort of joyful memories are of being alone and building my own worlds.
00:35:18 I remember that feeling of joy too,
00:35:21 of, like, climbing trees and jumping, leaping and exploring.
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00:36:04 There's so much vivid color in nature, but it's hard to capture.
00:36:10 This goldenrod just is screaming out yellow,
00:36:14 but then you end up with a kind of quiet chartreuse color.
00:36:19 Green is even more elusive.
00:36:21 It doesn't make it from mushing up leaves; they just turn like a watery tea color.
00:36:27 But as it turns out, nature is hiding green in the strangest of places.
00:36:32 [birds chirping]
00:36:45 These little tiny dried-up raisins are actually buckthorn berries.
00:36:51 I've got some buckthorn juice here.
00:36:57 And we add a bit of lye.
00:37:02 The lye is made with the white ashes of pear trees
00:37:05 that have had rainwater sifted very slowly through it.
00:37:10 And when it's finished doing its magic,
00:37:12 it kind of gives you this nice, bright, golden, yellowy green.
00:37:24 Some of ink's most vital ingredients are completely colorless,
00:37:30 like lye or water or salt.
00:37:41 Not all salts are the same.
00:37:43 If you take salt that is crystallized on an ancient lake bed
00:37:47 with trace elements of borax and gypsum, it's going to behave differently.
00:37:52 It will bring a subtle variation to the character of the ink,
00:37:56 an imprint of the place it comes from.
00:38:05 Tastes like salt.
00:38:09 Tastes good, actually.
00:38:19 Salt sort of brightens the color and helps it dig into the cotton of the paper.
00:38:27 It's a nice piece.
00:38:42 Part of what I'm hoping to do is draw people's attention to minute differences,
00:38:50 and by looking at the minute differences,
00:38:53 you're sort of slowing people down,
00:38:57 having them think about how place and materials come together.
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00:40:20 The earth has been writing and rewriting its story far longer than we have.
00:40:25 It's a storyline written in rock and through rock over billions of years.
00:40:32 Nature has been doing its own ink making, its own calligraphy.
00:40:36 [Music]
00:40:57 Beautiful, soft, white chalk.
00:41:02 That's just nature's art supply there.
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00:43:06 Okay.
00:43:25 It's hydrated iron, which is what ochres are.
00:43:29 So it gives it that kind of color.
00:43:32 [Music]
00:43:44 Heidi Gustafson runs an ochre sanctuary.
00:43:49 She protects the ochres, she investigates them,
00:43:52 she uses them for healing, and she works with people all over the world.
00:43:56 Physicists, art historians, environmentalists, and indigenous people in particular.
00:44:02 [Music]
00:44:07 What this color is, is excreted bodies of tiny bacteria.
00:44:12 They've taken the iron that was free in the water that was weathering out of the soil in that ditch,
00:44:19 and they're basically, they get their energy by having the iron combine with oxygen,
00:44:26 and they make an iron oxide out of that process.
00:44:30 So it's changing the state of the iron that's free in the water by, through their body, creating this ochre.
00:44:38 Ochres have a lot of wisdom.
00:44:42 Like this one, which comes from Johannesburg, South Africa, and it's used by the healing doctors there.
00:44:50 It's formed for the shape of the hand, you know, it wants to be touched, it wants to be used by people.
00:44:56 And it's rubbed like this, right, and then has a really strong smell.
00:45:02 People put it on their face before they do any healing practices to sort of protect themselves.
00:45:07 This is from Wadi Rum in Jordan, from the mountain of the plague.
00:45:12 This material is super red and has a historical lineage of being used for internal medicine.
00:45:20 This is an iron oxide hematite, so that means the stone that bleeds.
00:45:25 [Music]
00:45:30 The particle sizes are changing. That's where more of the blood tone is coming out.
00:45:35 [Music]
00:45:42 Just add liquid and you basically get something that looks like blood, it smells like blood, it has the same makeup as our blood,
00:45:49 but it's from the core of the earth type of rock.
00:45:53 It's the blood of the earth.
00:45:55 [Music]
00:45:59 Horsetails, in the old coastal environments here, the roots mineralize into hard bits of iron.
00:46:06 They actually become iron fossils.
00:46:09 They grow along train tracks too, and I've always loved train tracks.
00:46:13 Yeah.
00:46:14 I kind of just wanted to do an experiment with horsetails.
00:46:22 Heidi gave me these fossilized, ocherized roots of horsetail.
00:46:28 You can see that the ocher kind of takes the shape of the old root.
00:46:32 Actually, you can see the root is still inside there.
00:46:35 It's crumbly and rich.
00:46:45 Ocher always sort of has a life of its own, but it's really this amazing orangey oxidization inside.
00:46:57 [Music]
00:47:00 Color is a language, and humans first began to record the world with a colorful dust made of rock.
00:47:08 That rock is red ocher.
00:47:10 It's our oldest pigment, and for me, ocher is ink.
00:47:16 It's ink because it's lasting and it communicates in a ritual way.
00:47:20 [Music]
00:47:50 [Birds chirping]
00:47:53 My totem poles are like 18 to 50, 60 feet.
00:47:58 When Heidi Gwai must have worked on at least 8 to 10 different monumental poles that have stood in the community.
00:48:07 Historically, there was different pigments used.
00:48:10 There'd be like a red oxide, sometimes like a carbon black or a bone black.
00:48:16 There's a blue-green that's actually quite a coveted color.
00:48:21 One of the crests that the Nikun people have, which is my clan, there's a hat in the,
00:48:28 that's like a supernatural dancing hat in a blue-green color.
00:48:34 I don't use natural pigments too often, but it's something I like to do.
00:48:39 I always like experimenting with old techniques, just like the tattooing.
00:48:44 I got interested in traditional hand-poked tattooing.
00:48:49 When I was young, I was more into the urban scene of hip-hop culture, which one of my main practices was graffiti.
00:49:04 My Uncle Christian, who was my first teacher, he saw that could be probably transferred into carving.
00:49:11 Yeah, there's just a certain feeling of respect, I guess, to your ancestors when you do things in the same way.
00:49:30 You know, colonialism tried to take away everything we had as hard as they could try.
00:49:37 They did every, all means to stop this from happening right now.
00:49:42 Yeah, so on this piece, I'm going to use ink from Jason, kind of experimenting a bit.
00:49:55 [music]
00:49:59 The black is pulling quite nicely with the brush.
00:50:05 Copper blue made from copper scraps, crabapple vinegar, and Death Valley salt.
00:50:13 These are kind of typical placements of the colors.
00:50:18 You'll find a lot of old masks, you'll find this blue-green around the eye socket.
00:50:24 So this one looks, applies more like a wash, which is actually nice.
00:50:32 [music]
00:50:40 [music]
00:50:44 Making a classic red, the color of blood or fire engines, has never been easy or safe.
00:50:58 Cinnabar has been used for thousands of years.
00:51:03 It's just that it's toxic and full of mercury.
00:51:08 But the Aztecs made a deep, non-toxic red from cochineal insects that fed on cacti.
00:51:15 Spain's conquistadors plundered this precious red, along with the gold and silver,
00:51:25 and kept its source a trade secret for 200 years.
00:51:29 And Mexico remains a Mecca for natural color.
00:51:35 [music]
00:51:39 [music]
00:51:51 [music]
00:52:19 [music]
00:52:22 I have 25 years in this farm, and I make ink from the cochineal color.
00:52:35 This is my laboratory.
00:52:38 I make extraction of the color and experiment different ways to make the ink.
00:52:48 Can you bring me to the insects?
00:52:50 Sure, please follow me.
00:52:53 The cochineal is a pest to the cactus.
00:53:01 When the baby found a place, use the proboscis and start to absorb the juice.
00:53:07 When the cochineal metabolize the juice and transformate in a red solution.
00:53:14 The females live three months.
00:53:17 And each three months, I collect the dead mothers.
00:53:22 [music]
00:53:42 [music]
00:53:45 People often ask me about the difference between ink and dye.
00:54:06 And it's a fine line. Both are basically colored water.
00:54:11 But ink moves across paper, and dye saturates fabric.
00:54:16 Is this one ready or it needs a bit more time?
00:54:20 I need more time.
00:54:22 I need more cochineal and more time.
00:54:26 A lot of my understanding about how natural color works
00:54:32 comes from the tradition of women and natural dye.
00:54:36 Dyeing yarns or wools or fabrics hundreds and hundreds of years ago.
00:54:41 The sort of science and craft of indigenous dye making
00:54:46 goes even deeper and it goes a long way back.
00:54:49 The magic of colors.
00:54:52 This is indigo.
00:54:59 That pigment, my culture Zapotec, used this one to have a problem for the...
00:55:05 Like circulation?
00:55:08 Uh-huh.
00:55:09 Love this color.
00:55:10 Touch now. More soft and finest.
00:55:14 Like velvet.
00:55:16 Yeah.
00:55:17 [music]
00:55:21 [music]
00:55:24 [bell ringing]
00:55:32 [music]
00:55:36 [music]
00:55:39 [music]
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00:55:47 [music]
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00:56:00 [music]
00:56:03 I do early drafting and handwriting.
00:56:22 I take notes in handwriting.
00:56:24 And they now know that writing notes on paper is the best way of learning things.
00:56:31 Just underlining them digitally doesn't work.
00:56:34 Because you're not actually inscribing them on your brain.
00:56:38 When you write with your hand,
00:56:41 it's the old platform that we've had for many, many thousands of years.
00:56:48 [door opening]
00:56:50 I made you a special red ink.
00:56:59 Oh, thank you.
00:57:00 This looks stunning.
00:57:02 It's made of Wycliffe brick dust.
00:57:06 I sort of tried to put everything that I know of that makes red into this ink.
00:57:12 [music]
00:57:17 Very nice.
00:57:19 And if you did a little overlay, it could make it darker.
00:57:22 Yeah.
00:57:23 And how long will this last?
00:57:28 We do not know.
00:57:30 We do not know yet.
00:57:32 Yeah, so that's interesting.
00:57:34 Should it be ephemeral?
00:57:37 Should it, on the other hand, be long-lasting?
00:57:40 Should it be the Book of Kells?
00:57:44 Well, I sort of feel like if you want archival ink that behaves the same every time
00:57:53 and is UV-proof and will last forever, that--
00:58:00 That you're not their guy.
00:58:02 You can go to the art supply store and get that.
00:58:04 Okay.
00:58:05 This ink might fade or it might start to crystallize a bit
00:58:08 because there's some Roman vitriol in there,
00:58:10 which is like a form of iron.
00:58:14 It might get darker. It might get lighter.
00:58:18 Like, I kind of like the element of--
00:58:21 --of it being alive.
00:58:25 What have you drawn there?
00:58:30 I've drawn a couple of ephemeral people.
00:58:33 So these are-- These are handmaids?
00:58:37 No, they're just people wearing-- They need not be handmaids.
00:58:42 Not everything in a red dress is the handmaid.
00:58:45 [laughs]
00:58:47 [music]
00:59:06 [pencil writing]
00:59:08 People love pink.
00:59:20 I get more requests for pink than any other color, except black.
00:59:24 And Grace Lim, this painter in New Jersey, wants both.
00:59:29 Okay, let's try the cactus flower.
00:59:35 [music]
00:59:37 Come to life.
00:59:47 This is alamine lotion.
01:00:00 It screams out for a little white, black.
01:00:04 It's got dendrites.
01:00:18 [music]
01:00:20 People often ask me about the difference between ink and paint.
01:00:43 And I think it's really in the way that it moves, the way that it acts,
01:00:49 almost with a mind of its own.
01:00:52 It's very intuitive to work with ink, because you can't really control the medium too much.
01:00:59 You kind of have to let it do what it wants to do and kind of go with the flow.
01:01:12 The lamp black is really fun to experiment with.
01:01:16 You can layer it, which I really appreciate, so you can decide what type of intensity you want.
01:01:21 And I'm looking at kind of pushing style of the work in terms of the black skin
01:01:26 and exploring how that could look.
01:01:29 When I was an undergraduate, we didn't have any models of color,
01:01:36 and so I didn't know how to paint darker skin tones.
01:01:39 And so when I wanted to work on my own personal paintings,
01:01:42 I didn't really know how to approach the painting,
01:01:46 because I didn't know how to paint my friends or even myself.
01:01:50 So I just painted the skin pitch black as a way of kind of rebelling,
01:01:57 and that eventually ended up being my signature style.
01:02:00 [music]
01:02:24 This is for Yuri, who does such delicate work with pink and is a fan of cherry blossoms.
01:02:31 I've got cherry blossoms in the backyard, but they're so pale and barely pink at all
01:02:37 that the darkest form of the crabapple blossoms make a really nice ink.
01:02:43 And I mix those with cherry sap, so it's still got cherry in there.
01:02:54 I also often use a wild apple vinegar as my intensifier.
01:03:01 It's kind of more like a wash than an ink,
01:03:08 and I'm hoping that Yuri can do something magical with it.
01:03:13 [music]
01:03:38 I had lost my entire family when I was 28.
01:03:43 They left one by one, you know.
01:03:46 When the Japanese earthquake and tsunami happened,
01:03:53 such astonishing numbers of people washed away.
01:03:57 My loss came back with deep emotion.
01:04:04 Then I heard the cherry trees were blossoming among the ruins.
01:04:09 That inspired me.
01:04:11 So I did this mandala-like painting of cherry blossom petals.
01:04:17 I painted the petals one by one, like a monk counting prayer beads.
01:04:25 Then I started to see each petal as each life who had to leave the loved ones behind.
01:04:33 And it made me feel that I need to mourn them.
01:04:38 So this is my mother's ink that she had used when she was alive.
01:04:52 When I grind her ink, I feel I'm connected with her.
01:05:02 When we go to a funeral in Japan,
01:05:07 we have a courtesy that we don't use dark black ink.
01:05:13 You use grey ink to write your name and bring some money.
01:05:20 That means you are not prepared.
01:05:23 You didn't have much time to make ink because it was very satin.
01:05:32 So it's a part of condolence.
01:05:35 That's why we write with the grey ink.
01:05:40 I gently wrapped around each petal,
01:05:47 like hugging with the grey ink, not black.
01:05:53 Like warm tears.
01:05:55 So that the whole process is healing.
01:06:02 Rudy got diagnosed with cancer.
01:06:12 I was very devastated, but I decided not to do the surgery.
01:06:19 Right after I made the decision not to do the surgery because it was too much.
01:06:25 I was diagnosed with breast cancer.
01:06:31 It's stage 0 to 1.
01:06:34 But I had to do the surgery, the mastectomy.
01:06:40 One day I thought maybe I could use Rudy's blood.
01:06:46 And this particular series that I've been working on, which is "Unbroken Line,"
01:06:52 the whole idea is just line.
01:06:55 I try not to illustrate life stories, but it tells a lot.
01:07:01 And I want to paint this unbroken line with blood.
01:07:07 [music]
01:07:12 So this is Rudy's blood.
01:07:26 But Yuri sort of changed directions and asked for a blue ink, a healing blue ink,
01:07:31 because her dog Rudy had gone through this medical procedure and ended up with blue eyes.
01:07:37 I think I feel like just being really simple about this.
01:07:44 I've never worked with blood before.
01:07:52 For Yuri, I immediately thought of Prussian blue,
01:07:57 from these little blue ink cubes used to whiten laundry.
01:08:02 And it was invented by accident in 1704 by a German paint maker working in an alchemist's lab.
01:08:09 Some animal blood contaminated a batch of cochineal red.
01:08:13 That red turned to electric blue.
01:08:17 In the Renaissance, if you wanted a bright blue, the only choice was lapis lazuli, or ultramarine,
01:08:23 which was ridiculously expensive.
01:08:26 When the painters discovered Prussian blue, it was a revelation.
01:08:31 Prussian blue is actually on the World Health Organization's list of essential medicines,
01:08:37 and it's actually used to treat cancer.
01:08:40 In general, I don't work with synthetic components at all, but it's non-toxic, it's healing,
01:08:48 and it just has this history to it.
01:08:52 [slurping]
01:08:56 A little bit of salt water.
01:09:03 It's like because Prussian blue was created with a drop of blood,
01:09:10 maybe it needs a little drop of blood to activate it.
01:09:16 [slurping]
01:09:19 This is the color of the bottle?
01:09:27 This is, no, this is the ink.
01:09:29 What?
01:09:30 Prussian blue was a color that happened by accident because of blood contamination.
01:09:38 So this has the blood?
01:09:40 Yeah, yeah, and it's together, weirdly together, it's non-toxic, it's medicinal,
01:09:48 and it makes this crazy, beautiful, bright blue.
01:09:51 I love that there's a component of medicine.
01:09:54 I think that there's medicine in, I really do think there's medicine in ink.
01:09:58 Rudy, this is yours.
01:10:00 I mean, this is both of ours.
01:10:06 [music]
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01:12:58 If black is where ink began, blue is where it went.
01:13:02 From the fountain pen to the BIC, blue went everywhere.
01:13:06 Blue was the new black.
01:13:09 [music]
01:13:16 [music]
01:13:22 [music]
01:13:28 [music]
01:13:32 Hi.
01:13:33 How's it going?
01:13:34 I'd like to check out your I, J, and C.
01:13:37 Okay.
01:13:38 Mm-hmm.
01:13:39 [music]
01:13:43 So it's 22 caliber.
01:13:44 Do you know what that metal is that's around the barrel?
01:13:48 It looks kind of blue.
01:13:49 I'm not really sure.
01:13:51 I'd have to ask.
01:13:52 Do you have a magnet back there?
01:13:55 I do not.
01:13:57 I think that this has got to be like regular old iron.
01:14:01 It's just got a blue finish.
01:14:03 Cool.
01:14:04 I think it will work for what I'm planning.
01:14:09 Okay.
01:14:11 [gun cocking]
01:14:19 [music]
01:14:25 I get all my guns at the pawn shop.
01:14:28 They have a nice selection of antique guns made mostly out of iron,
01:14:34 but there's never just iron in it.
01:14:38 Most all guns are made from an alloy known as 4140,
01:14:43 which has got traces of sulfur and carbon and molybdenum and chromium.
01:14:52 In fact, it's known as chromoly.
01:15:00 I don't worry so much about the chromoly elements.
01:15:04 The sulfuric acid sort of takes care of all that.
01:15:08 [music]
01:15:23 Occasionally my father will request to shoot a gun before I put in acid
01:15:28 because he misses his gunsmithing days.
01:15:34 I don't shoot the guns.
01:15:36 I don't know what it feels like to shoot a gun.
01:15:39 I'm more interested in getting them processed and on their way.
01:15:48 Guns are very potent objects.
01:15:51 They're haunted objects.
01:15:55 I like to think of taking that quality
01:15:58 and transferring it to something else, a different medium.
01:16:04 [music]
01:16:16 This goo goes by many different names.
01:16:20 Green vitriol is, of course, what it's probably known best as.
01:16:24 It'll dry out and become more crystalline salt, iron sulfate,
01:16:29 sort of like a beach sand, only green.
01:16:34 This is a little bit of sodium hydroxide.
01:16:42 And this gloopy, gloppy mess is magnetite, black iron oxide,
01:16:47 also known as Mars black.
01:16:49 It's one of my very favorite pigments,
01:16:52 and it does fun tricks with a magnet.
01:16:55 [laughs]
01:16:57 [music]
01:17:03 To me, ink is defined by its preciousness,
01:17:09 and it's really the investment in the ink that a person makes
01:17:12 that gives it its power.
01:17:15 It's the investment a person puts into the material.
01:17:19 Guns are kind of like the opposite of that in a way.
01:17:22 They take stuff away a lot, but they produce so much pigment.
01:17:29 I calculated it once.
01:17:31 It was a rifle barrel, and I was trying to figure out
01:17:36 how much ink I could get out of it,
01:17:39 and my math was certainly off,
01:17:42 but I believe you can get about 1,100 King James Bibles
01:17:49 worth of ink out of a single barrel of a Remington rifle.
01:17:55 [liquid pouring]
01:18:01 [gunshot]
01:18:03 [gunshot]
01:18:05 [gunshot]
01:18:12 [gunshot]
01:18:15 When I first started my company, it started with the mail,
01:18:19 sending out little messages in a bottle,
01:18:22 and it's amazing to get this message back in a bottle.
01:18:26 But you know, even though it started as this sort of
01:18:29 physical thing, it really is,
01:18:31 the thing that's made it take off is Instagram.
01:18:36 I started to notice that there was this sort of stirring
01:18:40 of foragers, witches, mad scientists, plant specialists,
01:18:44 chefs, activists, all these thousands of people
01:18:47 out there around the world, grinding and pulverizing
01:18:51 and boiling in that same communion with stuff.
01:18:56 [liquid pouring]
01:19:00 People are looking for some kind of transcendence, you know,
01:19:03 they find some sort of higher spiritual plane
01:19:05 in being out there in nature,
01:19:07 and I think what I'm noticing is kind of just the opposite,
01:19:12 that when you get close enough to nature,
01:19:15 having the stuff in your hands
01:19:17 gives you a kind of radical humility,
01:19:20 something that maybe we as humans need right now.
01:19:25 [liquid pouring]
01:19:31 ♪ If I could make a wish ♪
01:19:38 ♪ I think I'd pass ♪
01:19:44 ♪ But I can't think of anything I need ♪
01:19:51 [chatter]
01:19:54 ♪ No, no, no, no, no, no ♪
01:19:59 Eucalyptus very famously will make ink,
01:20:03 but a reddish bark or leaves I find is often quite promising.
01:20:09 I'd say just take an hour and wander.
01:20:13 ♪
01:20:17 ♪ Sometimes ♪
01:20:20 ♪ All I need is the air that I breathe ♪
01:20:24 ♪ And to love ♪
01:20:27 ♪ All I need is the air I love ♪
01:20:32 I think that one's like more red,
01:20:34 and then this one's more orange, and that one's more red.
01:20:37 ♪ All I need is the air ♪
01:20:40 [laughter]
01:20:42 ♪
01:20:49 I don't know if I'm turning it up or down.
01:20:52 That's sad.
01:20:55 Yeah, look at that.
01:20:57 Ooh, what?
01:20:59 ♪
01:21:01 These are clam shells.
01:21:03 So you can have a kind of shell white
01:21:05 with a little bit of like chalk white.
01:21:07 -You want to do that? -Sure.
01:21:09 ♪ Has left me peaceful ♪
01:21:12 Ooh, that's nice. That's nice.
01:21:15 Yeah.
01:21:17 ♪
01:21:19 White on white.
01:21:21 ♪
01:21:24 I'm often asked why make white ink,
01:21:27 and my first answer is always, well, why not?
01:21:31 My second answer has to be drywall.
01:21:35 It's a building material that I can find down the street,
01:21:38 and it goes all the way back to the pyramids.
01:21:41 It's hard and white for the same reason
01:21:43 that teeth, bones, shells, and chalk are white.
01:21:48 It's calcium.
01:21:50 ♪
01:21:57 ♪
01:22:04 ♪
01:22:11 ♪
01:22:18 ♪
01:22:25 ♪
01:22:32 ♪
01:22:39 ♪
01:22:46 ♪
01:22:49 Pretty otherworldly here.
01:22:51 It looks like there's a painting behind you.
01:22:54 It feels like there's a painting behind me, definitely.
01:22:57 Where are you?
01:22:59 I'm standing in the Calacatta Borghini in Carrara
01:23:02 in the Apuan Alps.
01:23:04 It's one of the oldest quarries here in the area.
01:23:07 The Romans made some of the first cuts here,
01:23:10 and so Michelangelo found his David here,
01:23:13 and the Pantheon is made from stone that comes from here.
01:23:16 The owners of the quarry were pretty curious
01:23:19 and sort of perplexed at why I was collecting this marble dust.
01:23:25 I don't think anyone's ever tried to make use of it in liquid form.
01:23:30 Can you send me a little bag of this marble dust?
01:23:35 Yes, of course.
01:23:37 ♪
01:23:45 ♪
01:23:55 ♪
01:24:05 ♪
01:24:07 How lovely.
01:24:09 Saria, I reground and resifted the Carrara marble dust.
01:24:13 Itself an intensification of shellfish and their calcium-rich bones.
01:24:18 Now the cliffs overlooking the Mediterranean Sea.
01:24:24 This ink can be a little bit tricky.
01:24:27 I'm just going to cover the nib of my pen.
01:24:30 That will help absorb the ink
01:24:33 and just give me a bit more time with it.
01:24:38 The paper is Nepalese in origin,
01:24:41 but then was treated in Istanbul with egg white.
01:24:46 ♪
01:25:10 One of the very first verses in the Quran that was revealed
01:25:14 refers to the pen.
01:25:16 So the pen was sanctified from the very birth of Islam.
01:25:21 And in fact, there are a couple of Quranic verses that talk about ink,
01:25:26 and so I'm writing one of those verses from the Quran.
01:25:30 ♪
01:25:34 The white ink doesn't hide anything.
01:25:38 It does reveal every move of the pen
01:25:42 and it's quite nice to see that.
01:25:45 ♪
01:25:52 I usually write in black ink,
01:25:55 but it's still the same method of working, the same approach.
01:26:00 Your eye is carefully looking at the space
01:26:04 that that ink is about to enter,
01:26:07 and you need to just be aware of that space,
01:26:10 particularly in Arabic calligraphy, where you have set proportions.
01:26:15 You need to be aware of how long you make that letter Aleph.
01:26:19 How does it relate to the letter that follows?
01:26:23 ♪
01:26:27 It's not just scripture.
01:26:30 It becomes very meaningful and you access an almost--
01:26:36 it feels like a deeper meaning or a deeper attachment to it by writing it.
01:26:44 ♪
01:26:51 For me, it's always been through--
01:26:53 my experience of Islam has been through beauty,
01:26:56 through love, through the art,
01:26:59 through the inspiring verses of the Quran
01:27:01 that talk about ink and oceans and pens and knowledge
01:27:06 and angels and light and gardens of paradise.
01:27:12 So my experience is very different to the one that's fed back at me
01:27:17 constantly, relentlessly, through the media.
01:27:21 ♪
01:27:26 This verse loosely translates as,
01:27:29 "If the sea were ink to write the words of my Lord,
01:27:35 "then the sea would run out before the words of my Lord,
01:27:40 "even if another sea were to be added like it."
01:27:45 ♪
01:28:00 I have one idea--
01:28:03 Mars and magnetic.
01:28:06 [laughing]
01:28:07 Magnetic.
01:28:08 Magnetic.
01:28:10 Oh, my gosh.
01:28:13 Koji has asked for magnetite ink, and this is no small order.
01:28:18 Koji's a kind of rock star among Japanese calligraphers.
01:28:22 He creates these wild, iconic works,
01:28:25 and he performs them on a massive scale.
01:28:29 I'm going to need a lot of magnetite.
01:28:33 ♪
01:28:35 I've been told that there's this ghost mine
01:28:37 hidden deep in the bush near Bancroft.
01:28:40 There's nothing left.
01:28:41 The mine is gone, the town is gone, the railway's gone,
01:28:44 but apparently there's a motherload of magnetite up there.
01:28:49 And we're just starting to come across
01:28:51 a pile of rock here on our left.
01:28:53 This is our ore pile.
01:28:56 Just about any rock that we stand on here
01:29:01 or we pick up here is going to have magnetite.
01:29:10 There we go.
01:29:12 Oh, yeah.
01:29:35 So that's crushed up bits of magnetite dust.
01:29:41 You kind of harvest the softest bits from the end.
01:29:45 They keep kind of falling back onto the magnet.
01:29:49 At this rate, it's going to take a while.
01:30:03 This is an insane amount of magnetite dust.
01:30:08 For me, it's very important that the particles
01:30:13 are hand-ground for koji, but also that they're fine enough
01:30:18 that they'll be suspended in water.
01:30:22 I'm getting kind of an orangey tone.
01:30:27 It's black, but it's...
01:30:30 There's some sort of rusty tones in there.
01:30:35 Dry ink is something I've never experimented with before,
01:30:41 so I'm just really wanting to get it right.
01:30:44 Do you want to put the label on?
01:30:47 - There? - Yeah.
01:30:49 All right. Ready for shipping.
01:30:54 (car engine rumbling)
01:30:57 (man speaking Chinese)
01:31:19 (man speaking Chinese)
01:31:21 (man speaking Chinese)
01:31:24 Whoa.
01:31:30 Mmm.
01:31:33 (speaking Japanese)
01:31:49 (speaking Japanese)
01:31:52 (speaking Japanese)
01:32:19 (dramatic music)
01:32:22 (speaking Japanese)
01:32:26 (speaking Japanese)
01:32:30 (speaking Japanese)
01:32:34 (speaking Japanese)
01:32:37 (speaking Japanese)
01:32:41 (speaking Japanese)
01:32:44 (breathing heavily)
01:32:47 (speaking Japanese)
01:33:13 (water dripping)
01:33:16 (speaking Japanese)
01:33:22 (paper crinkling)
01:33:33 (dramatic music)
01:33:38 (dramatic music)
01:33:41 (speaking Japanese)
01:33:47 (speaking Japanese)
01:33:56 (speaking Japanese)
01:34:03 (speaking Japanese)
01:34:06 (dramatic music)
01:34:12 (speaking Japanese)
01:34:17 (speaking Japanese)
01:34:30 (speaking Japanese)
01:34:33 (laughing)
01:34:40 Koji has decided to use my magnetite ink
01:34:43 to draw a single word.
01:34:46 Oneness.
01:34:48 And the character for it is simply a straight line.
01:34:58 (paper crinkling)
01:35:01 (speaking Japanese)
01:35:12 (speaking Japanese)
01:35:16 (speaking Japanese)
01:35:19 (speaking Japanese)
01:35:23 (speaking Japanese)
01:35:26 (paper crinkling)
01:35:37 (speaking Japanese)
01:35:44 (speaking Japanese)
01:35:47 (dramatic music)
01:36:04 (speaking Japanese)
01:36:11 (speaking Japanese)
01:36:14 (dramatic music)
01:36:19 (dramatic music)
01:36:37 (dramatic music)
01:36:40 (speaking Japanese)
01:36:51 (dramatic music)
01:36:56 (water dripping)
01:37:00 (dramatic music)
01:37:04 (footsteps)
01:37:06 (dramatic music)
01:37:09 (water dripping)
01:37:12 (dramatic music)
01:37:15 (water dripping)
01:37:18 (dramatic music)
01:37:21 (water dripping)
01:37:24 (dramatic music)
01:37:27 (dramatic music)
01:37:30 (groaning)
01:37:33 (dramatic music)
01:37:36 (groaning)
01:37:39 (dramatic music)
01:37:42 (groaning)
01:37:45 (dramatic music)
01:37:48 (groaning)
01:37:51 (dramatic music)
01:37:54 (dramatic music)
01:37:57 (groaning)
01:38:00 (silence)
01:38:07 The Street! (chuckles)
01:38:11 Oneness.
01:38:13 (silence)
01:38:20 Completed! Today's work.
01:38:24 (silence)
01:38:28 (music)
01:38:34 (music)
01:38:39 (music)
01:38:44 (music)
01:38:49 (music)
01:38:54 (music)
01:38:59 (music)
01:39:04 (music)
01:39:09 (music)
01:39:12 This is calamine.
01:39:14 (music)
01:39:23 Genshin Violet disinfectant.
01:39:26 The last little drip of iodine that I have.
01:39:31 This is Thomas Little's ink.
01:39:35 I've been sort of saving this up.
01:39:37 (music)
01:39:46 That's iodine in calamine.
01:39:49 And...
01:39:52 That is Genshin Violet with a bit of magnetic gun ink in calamine.
01:40:02 (music)
01:40:12 (music)
01:40:40 (music)
01:40:44 Oh my god!
01:40:46 Papa, that's what I saw. It was shiny.
01:40:49 (music)
01:41:08 (music)
01:41:21 Papa! Eva found this one and she got it and it has stuff in it.
01:41:26 Violet.
01:41:27 Yeah. Who found that one?
01:41:29 Me! Eva.
01:41:30 Eva, you've got a good eye. Here, it's a little piece of glass with a grid inside it.
01:41:35 Oh.
01:41:36 That's so curious.
01:41:38 (music)
01:41:49 It's a snow wave.
01:41:51 I've been trying to compare it to other ones, but it's the brightest.
01:41:59 It's like every single color of the city here.
01:42:08 Like every brick and tile and bathroom and bit of subway.
01:42:13 Yeah.
01:42:17 Oh, Eva, look at this one of one color.
01:42:19 Oh my god, look at this one.
01:42:21 Oh, I think I found it.
01:42:27 This one is one of my favorites.
01:42:29 Eva, one that we like.
01:42:31 Good one.
01:42:32 Let's put it on here, okay?
01:42:35 (music)
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01:49:03 [BLANK_AUDIO]