My first impulse would now be to hit the laser cutter. Both the Lemniscaat and the analemma have a strong symmetry, that a digital drawing could interpet with ease. Instead I decided to work very directly on paper. Simply black India and and white paper.
It is pretty satisfying to take a fresh sheet of paper, and just see how many ways you can fit this shape in the parameter. No one drawing is special at all, but I enjoy the gestural hand-drawn quality.
Different media, different substrates start to take over the room. It is very hard to draw a perfect Lemniscaat. It reminds me of working on carving plaster sculptures with my students. Every year a student wishes to carve a perfect sphere. (“It’s the earth, the sun!”) We have a conversation about how the elemental shapes- the “primitives” are the hardest to make convincingly. Everyone has the perfect form in their mind, and they can compare what you have made to that. A flat spot will be noticed. This can work for and against your advantage.
Students usually end up carving an organic form. One thing I learned about the Lemniscaat is that it turns out best when you put your whole body into it. If I move through drawing one side, and then re-start at the top and form the other side, they turn out best. Your body has stronger and weaker areas and that is reflected in this form.
When I was installing my Achter der Ramen exhibition, I also took some paper into the window space to try out the media I was using in the install. The tools are rough- but they generate unexpected forms. Remind me of the exhilaration that Dale Chihuly probably felt, working outside with big swaths of paper with a full size broom dipped in paint!