Final Animation Project

Doing an animation based upon the style of Bruce Pickford is not easy. This animation can be more closely related to Art Cloke’s Gumbasia considering the more brighter tone than that of Bickford’s highly detailed fluid transformations in things like Baby Snakes.

Based upon the question of “What is a forest?” I took it in the sense of a child seeing a forest. A forest is full of mystery and wonder, you do not know what you will find when you venture in. Odd creatures, mystical objects, all sorts of things.

The biggest problem with this animation was the lack of clay. Bruce Bickford does the incredibly highly detailed animations with elaborate clay backgrounds because he has the amount of clay to do so. As a human error, I didn’t acquire such amount of clay, even though the means of taking such clay were provided to me.

The animation that is most fluid is during the transformation of the face, especially in the mouth, and the tail on the snail creature. The use of pixilation, even with how limited it is, ran smoothly, with only the last couple of frames being slightly blurry.

Bruce Pickford was reliant on music and sound effects so adding in the sniffing at the portion with the bear and the squish at the pixilation point seemed necessary, and as a personal twist against Bickford’s use of more rock music, I chose a fast paced classical song instead. The song Moonlight Sonata adds two meanings to the animation, one is to give more emphasis on the title, and the second is sort of hidden in that Every single frame had to be shot at night since where I was doing most of this animation there was a large window where the light would enter in and create too many interruptions with the lighting I wanted to use.

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What If Poster Project

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What if we only ate grapes? There would be more love and joy spread around, brought by bountiful harvests of grapes for everyone to enjoy.

The love can be shown by the heart made of grapes and the background, and the joy through the irregular happy face in the front. The entire piece has a diagonal flow to it starting from the top left corner leading down to the bottom, giving the viewer a direction to look through the poster. I used warm bright colors in the front in contrast with the earth tones of the background.

Modular design is a repeating element that is combined with multiple other elements. In this poster the modular design comes from the grapes that are scattered and changing in scale.

I used two photographs, one of me in a tree which serves as the background and the other of my friend sitting in the chair being the grapes.

Gallery Write Up: Brian Murphy

James Stephens

Jason Bernagozzi

Dgma. 1403-01 SET 302/8:00

20 November 2016

 

Anaglyph imagery and video are most commonly used as a means to create a stereoscopic effect, tricking the brain into believing that a flat two-dimensional image is actually a third-dimensional object. However, the use of Anaglyph goes far beyond the creation of 3D movies and photographs. It is a form of art in itself. A creative tool that has branched off and become a separate sect of the world of digital creation. One artist that has used this aesthetic persistently and proficiently is Brian Murphy. Many of his pieces are the definition of appropriated images, yet even though they are borrowed, he gives them all their own style, which he displayed in the Llewelyn Gallery.

Brian Murphy is very much an experimental artist, going to odd measures to create new and interesting pieces. He took the sequencing in his DNA and turned it into a sound file, creating music from himself over an altered video of his figure. The music is cryptic with a low gargled sound, something you may hear as background noise at a haunted house. Was it an expression of his inner self? Could it be an extension of him? The sound created by his DNA made the listener think, and wonder, and possibly even confused them. Experimental art can be confusing at times, but in the end it is still art to be appreciated by someone.

Compared to most artists who use appropriated images, Brian Murphy’s reconstruction of videos and images is slightly different. Unlike Ken Jacobs, famous for Tom, Tom, The Piper’s Son and was a part of inspiration for Brian, Murphy’s films are created not as a retelling of a story through found footage, but to give old medium a new style. By deconstructing and putting back together these films, as well as recreating them in an anaglyph display, Murphy has given new life to things like the film Holy Ghost West Virginia, which he used in a piece at the gallery. With each of his pieces, Murphy has gone through frame by frame, picking apart, rearranging, and putting back together to create something new. The videos he uses can go from a few seconds to being a dozen minutes at a time, they take on new forms of their own. The use of anaglyph brings the old images into a new dimension, putting them in the space of the viewer as if it were happening right in front of them, and not on a projector screen or a TV.

Without experimental artists like Brian Murphy, there would be no new concepts or fields of exploration for regular artists to delve into, because they would be too afraid to outstep their boundaries. Art would still be bounded to oil paintings and statues if there weren’t those who went on a whim and created something new, disregarding whether it would fail or not. The risk of failure is not in the mindset of an artist, and less so in the mind of an experimental artist.

Narrative Montage: Hunger Ridden

Narrative montage on procrastination and the ideas and concepts that go through ones head when procrastinating with a comedic style applied to it. It uses metric montage in the transition from day to night as well as rhythmic montage with the back and forth between the paper and the writer.

Paper Mask Project

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Front View

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Side View

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Back View

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Jaw Demonstration

Clean and concise, paper masks can be an extension of their creator. For this project, I took inspiration from the painted skulls of the Hispanic holiday the Day of the Dead, or Dia de los Muertos. They are filled with repeating patterns and turn something that would seem so dark into something light and celebratory. My mask demonstrates the festivity and the history that the painted skulls contains, with it’s own charm to it.

The infrastructure of the mask is slightly rigid, but is sturdy enough to stay together. It fits just fine around my face, the only problem being the jaw piece that is slightly loose from the elastic bands on the inside being worn down from the movement. The nose gave me the most trouble, at first creating a piece for the nose that was too small, then creating a piece that would move up and away from my face. This problem was fixed when I created a new nose piece that fit the whole way and taped it to the cheek portions of the mask.

The outside of the mask is incredibly clean, with exception to the inside of the jaw showing some tape, there are very few marks of pen or pencil, and very little tape is showing. The pieces are consistent in size and are only slightly varied in position. To make the piece stand out more it should have more patterns since it has so much blank space. Due to all of the blank space, the most interesting function is the moving jaw. It was difficult to mold to the jaw on my own, and my beard hair now presses it out, but it can move like the normal bottom half of a mouth, and it goes back up because of the elastic on the inside.

One thing to take from this project is to not be afraid to ask for help, Whether it be someone holding a piece of paper in place for you, or putting tape in place you can barely see. Assistance is a crucial asset sometimes.