Guyton similarly uses digital tools like inkjet printers and word processors to generate large scale abstract paintings, foregrounding the machine's defaults and errors as the true authorial force. His work shares Arcangel's strategy of translating software processes directly into monumental physical objects that interrogate the aesthetics of commercial technology.

Richter's color chart and squeegee abstract paintings explore how systems and chance procedures produce painterly fields of color that transcend their mechanical origins, closely mirroring Arcangel's elevation of a default gradient into a contemplative, near monochromatic chromogenic object. Both artists interrogate the boundary between process documentation and aesthetic experience.

Smalley works directly within commercial software interfaces such as Photoshop and Excel to produce large scale prints where the tool's native defaults, gradients, and color presets become the primary visual subject. His practice is among the closest conceptual and material parallels to Arcangel's project of making software infrastructure visible as a painterly and critical gesture.