It’s been the busiest year for dialectograms since I began working on them, with three currently in process – including my dream project at the Barrowland Ballroom with Alison Irvine and Chris Leslie, my partners at Recollective. Another dialectogram of Falkirk Steeple has rolled off the treadmill already this year (see pictured, and also look out for it on the dialectograms page). Dialectograms set in Kirkintilloch and Easterhouse are soon to follow, and next year, I’ll be working with Ingrid Shearer of Northlight on a drawing of the River Clyde at Glasgow Green.

And of course, there’s been the GoMA show now at it’s midway point (on until mid November this year) and the linked Associate Artist scheme organised by curator Martin Craig, and also involving the artist Alberta Whittle.

In short, busy. The GoMA has had already some very interesting outcomes as a result of opening up new audiences to the work. Among these has been Pierre Nicolas-Schwab, an expert on Marketing and Big Data from Belgium. He wrote this very interesting piece for Into the Minds, a blog that approaches dialectograms from a direction I’d honestly never considered before. We’re going to try and set up an interview for his blog as well – that is, I’m going to properly sort out my schedule so we can! For those of you with an interest in methods and so forth, it’s well worth exploring the site and Pierre-Nicolas’ work.

Gloria Kim is a researcher based in LA who has penned this piece on dialectograms for Prototypr, a website that reports on new developments in design. It’s interesting – and heartening – that in both these cases, dialectograms have connected with people not just though their product (the big gnarly drawing) but also through an appreciation of their process.

Speaking of, better get back to it, eh?