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Claire Keane
KIROKAZE
Sade Olutola
we're not kids anymore.
let's talk about Bridgerton tea, my ask is open
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AnasAbdin

shark vs the universe
Mike Driver
tumblr dot com
Aqua Utopia|海の底で記憶を紡ぐ
TVSTRANGERTHINGS
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pixel skylines
styofa doing anything

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blake kathryn

JVL

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Nature Abstraction - Fractals Excerpt from øøøø on Vimeo.
The Video is an extract taken from the 4K renders created for the Virtual Reality experience in the installation 'Nature Abstraction', hosted at the Barbican centre. ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~Video Interview : vimeo.com/139787169
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Nature Abstraction is an immersive sensory experience that explores the arcane forms of fractals, mathematical visual representation of natural and biological forms. The project gives an insight of their aspects through virtual reality, where they appear as three planets: Birth, Communion and Aether; Each accompained with scores designed to facilitate meditative state and relaxation; The fractals have also been processed through Google’s Deepdream, transforming the fractal landscapes into morphing psychedelic patterns that our eye will recognize as very familiar shapes although the way the images are created only aims to create a variety of random patterns on the canvas. The audience is guided to explore these planets and dive into their vast complexities as well as observing the contrast between the entirely digital created world inside the VR against the fully analogue created film projected onto the faces of the cube which have been filmed in real life, recreating using analogue visual effects and various chemical elements.
Credits Installation/Fractals : Matteo Zamagni Scores : Daniel Ben Hur Deepdream : David Li
Nature Abstraction - Fractals Excerpt from øøøø on Vimeo.
The Video is an extract taken from the 4K renders created for the Virtual Reality experience in the installation 'Nature Abstraction', hosted at the Barbican centre. ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~Video Interview : vimeo.com/139787169
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Nature Abstraction is an immersive sensory experience that explores the arcane forms of fractals, mathematical visual representation of natural and biological forms. The project gives an insight of their aspects through virtual reality, where they appear as three planets: Birth, Communion and Aether; Each accompained with scores designed to facilitate meditative state and relaxation; The fractals have also been processed through Google’s Deepdream, transforming the fractal landscapes into morphing psychedelic patterns that our eye will recognize as very familiar shapes although the way the images are created only aims to create a variety of random patterns on the canvas. The audience is guided to explore these planets and dive into their vast complexities as well as observing the contrast between the entirely digital created world inside the VR against the fully analogue created film projected onto the faces of the cube which have been filmed in real life, recreating using analogue visual effects and various chemical elements.
Credits Installation/Fractals : Matteo Zamagni Scores : Daniel Ben Hur Deepdream : David Li
Klikbert walkcycle from Kasper Werther on Vimeo.
I animated an extra walkcycle with the Klikbert puppet from the "KLIK Amsterdam Animation Festival 2017" leader. Watch it here vimeo.com/235331465 .
My puppet runs past pretty quickly in the leader, so I decided to make a separate walkcycle. Now people can take a closer look at the puppet in motion.
2D line animation by Junaid Chundrigar. Puppet and stop-motion animation by me.
20 ans de la Cité de l'Espace from Spectre Lab on Vimeo.
Direction artistique et réalisation des images : Spectre Lab Production : Médiane Event & Travel Bande son : Start Rec Techniques : Videlio Events
Solace [2011-2013] [installation] from Nicky Assmann on Vimeo.
Solace a soap film apparatus
Solace is a cinematic installation that investigates the mental process and physical activity of seeing. At regular intervals a handcrafted apparatus creates a monumental soap film as a spatial intervention. Through precise lighting the inner movement of the soap film is revealed, showing a turbulent choreography of iridescent color and fluid motion. As gravity slowly gets a hold of the membrane the viewer can be fascinated with the phenomenon, until inevitably the fragile film bursts.
see also vimeo.com/94943877 for footage and my website for more info and images
nickyassmann.net/work/solace macular.nl/works/solace nickyassmann.net
Footage & editing: Przemek Siemion
Unidirectional data flow architectures from Øredev Conference on Vimeo.
Modul8 Advanced output Tutorial - enable Multiple outputs from GarageCUBE on Vimeo.
A quick tutorial to show how to use the Advanced output with modul8 . the advanced output is used to manage multiple outputs and slice up workspace . it is also used to force an output resolution and have different syphon streams with different output size
OCR-OSC from Carter Rosenberg on Vimeo.
For more information visit: davidlubl.in/projects/#/ocr-osc/
Download: vidvox.net/david/OCR-OSC-01.zip (OS X 10.10+)
Some of you asked for a color tutorial, and I’ve been kicking around ideas all day about the best way to do one. I’ve tried to do them before, and sometimes they’re helpful, but mostly I feel like they’re not. And I think that’s because I try to explain color theory, which is too big of a bite to take. Color theory is somethng you should read about because it will help you with your art. I just can’t tackle it here.
Instead, I’m going to do what I did in the blocking tutorial and just take you through my own steps in building a palette for a realistic portrait using a model/reference.
So I grabbed a random screencap…
Right away things get tricky because film, no matter how good the film is, is not real life. And the colors are so contextual (and sometimes very filtered), that they look ugly or nonsensical when translated to an art medium.
For example, if I were to guess, I’d say he had a pale complexion and was wearing a light green tunic.
But if I actually go in and color-pick the image, this is what the colors end up being:
Those are not the colors I expected.
So how do I deal with that discrepancy? I take what I know/want (pale man, light green tunic) and what I actually see (dark red, dark grays), and I figure out how to get from one to the other.
And here’s the funny thing about color: It doesn’t actually matter that much.
What matters more is the value of the color—it’s lightness and darkness. As long as you get the lightness and darkness right, you can pretty much make any color believable. And I know this is true because here’s a painting by Van Gogh, who puts greens, blues, pinks, bright oranges, and dark reds in his face, and it works. And not only does it work, but it makes a huge emotional impact:
So I suppose my overall advice would be to not be afraid of using the wrong color because you can make any color work. What’s more important is how it compares to the other colors around it.
When I make a palette, I look at the value first. I look at what the light is doing—What’s dark? What’s light? What’s in the middle? Where are the shadows and highlights? I don’t choose brilliant or surprising colors like an Impressionist might, though. Instead, I go for colors that fit the mood I want to convey, which is mostly quietness and softness. If I wanted to convey more visceral emotions, I might pick more visceral colors. But that’s not my style.
So now let’s go back to Denis, and here’s the color palette I would choose for his portrait:
And here’s how it would look if my colors were applied in the same places:
(I did not color-pick the gold turban in my first example, but I decided to add it here in my own palette so you can see how it changes along with the other colors).
Basically, all I’ve done is a value adjustment. I’ve brightened the colors, adjusting as I see fit, but I’ve kept the differences in value between them the same. In other words, the range between the colors in my palette is pretty close to the range between the colors in the original cap.
It’s not the colors, see? It’s the difference in value. And there’s not much of a difference. My style is soft, and I prefer muted, subtle colors. So I keep my range pretty narrow. If I put everything in grayscale, you can see what I mean:
See how close the grays are to each other? Nothing is too white, and nothing is too black. There’s not a lot of contrast.
And this is why Van Gogh’s choice of colors is so convincing. Look what happens when I convert his portrait to grayscale:
Everything looks natural. You can’t even tell he used weird colors because Van Gogh understood that you can do whatever you want with color as long as you keep the value between the colors consistent.
It takes a lot of practice to “see” things like value range and differences in light and dark. But learning how to see a good range in value—and then to produce a good range using any colors you want, even if the colors go against what you know or observe—is probably the most important thing about working in color that I can think of. I think there’s a lot you can learn about color theory in general, and all of it can be useful (and the internet is full of resources to help you), but you have to be able to work in those black and white values first. <3
Fuzzball 1 (02/12) from subBlue on Vimeo.
One of twelve looping 3D fractal animations created for a 147 screen installation at L'Eclaireur in Paris in the summer of 2011.
No audio. See the full set at subblue.com/blog/2012/01/06/leclaireur
shipibo fire (animation) from TAS on Vimeo.
audio from Flooting Grooves - Mbirations video by TAS fb.com/tasvision
FLORA_THE_MOVIE from kubagarscia on Vimeo.
install_plantation / digital flora
_____ audio design by: KWAZAR / gagarin studio soundcloud.com/kwazar
_____ studiokiosk.eu gagarin.pl
(via https://www.youtube.com/watch?v=_woNBiIyOKI)
LiFuelGauge Tutorial from codebender on Vimeo.
This is a tutorial on the LiFuelGauge library that interfaces the LiPo Fuel Gauge (MAX17043) module from Sparkfun.
You can find the library at codebender.cc
Sounds are from freesound.org. Schematics were based on Fritzing.
Glitch Codec Tutorial [glitch art demo] full tutorial from Nick Briz on Vimeo.
a tutorial on the technical, theoretical, and critical process of glitch art in six parts.
for downloads + more info visit: nickbriz.com/glitchcodectutorial