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Before I got the alcohol markers, I also got a small set of water-based markers for Christmas so wanted to try them out. I had very limited choice of colors (only 12 markers), but the color palette was surprisingly fitting for Haga so of course I had to draw him. 😀 I’m not happy with the colors but I already put effort into drawing the pose so I decided to put it out there anyway. His clothing design is based on pictures drawn by my dear friend @haeresis-tea ^^ Here and here (Haga is my OC)

I can't decide if I like the shaded or the non-shaded version better... (neither is very good imo)

#my drawings #OCs #Haga #Haganer Nilhur #Kopie #Hagův příběh #Haga's Story #The Copy

final install

#the copy #project 1 #studio #install

distortion affects

just various effects i've done and how !

Layering 4 clips at varying speeds, with divide, hard mix and difference blending modes.

cutting the footage to match with when sound appears

duplicating audio and video to create a glitching / tape stuck effect

duplicating video on darken blending mode to create a time delay effect

stacking clips above eachother

using cuts and strobe at an expenentially increasing rate, I like the sense of rhythm / speed this creates

using one clip and changing the speed of the clip continuously

stacking clips against their reversed selves for a morphing effect

using after effects to interpolate frames

mosaic effect

flashing ai-recognition-esque boxes and labels

using default "bad" transition effects in quick succession

blinders transition effect

blur effect

inverted

and more i couldn't really name. The whole process just involves me fucking around. I am however paying attention to execute the distortion in a way where it is entirely focussed on the image itself rather than taking attention away from it. For all distortion to be based on the poor image and its material qualities - the speed of its movement, the jitter of the bad animation. Also having in mind of the distortion increasing parallel to the deterioration of the audio.

About 2:30 minutes in now!

Also figured out that the final installation (next tuesday) will be in the assembly hall. I'm happy about the space as it's about as big and grand as you can get. THANKS HARRY!

#the copy #project 1 #progress

Check in with Newell

Some artists he mentioned: William Kentridge's charcoal animations, echoing the same idea, embodying that ultra-physical interpretation of animation. I like the aesthetics of his charcoal animations, redrawing the subject over and over again, erasing and replicating on the same piece of paper. He also mentioned David Shrigley's animation. I am inspired by this common theme of intentional shoddiness, and his flash style animations are surreal, unsettling and hilarious.

I also talked to him about my concerns with installation, and we have two options.

FIrst, to install it in the production studio on a massive projection, surround sound speakers of the highest quality. This creates great contrast and tension between the work and the install, grandising something so analog and purposefully low technology and stupid - which also has relations with Millard and Duchamp's work.

Second is to install it on a crt on a plinth in the analogue studio. This option does speak more towards the objectness i would like to incorporate. The existing crt as a piece of art relates to the ready made. Newell also suggested (for the future) I could lean into the ultra-analogue, to create a work similar to this in film or super8 and stick to analogue techniques to further explore the relationship between material and concept (or lack thereof) present within my work. To further emphasise the shoddiness, shaky shots, flickering textures in a pure analogue form.

Considering the two options, I think I prefer the production studio route. I like the contrast and dissonance created by maximising this minimal work.

#studio #the copy #install

Proposal reflection!

Reflection from proposal

talk to harry about installation in crt, as it's mono channel it might not pick up all the levels in the sound wall

Jane liked the iteration of the animation on tracing paper, as well as the morphing idea.

Idea of jump cuts and non-linear progression and deteroration, mirroring the sound. Some parts more roughly cut and others a reversing morph.

Talking to jane and doing some extensions in thinking about my practice, to develop a material and processional language within my art making. How would I describe my practice?

#progress #the copy #project 1 #ideas #reflection

Fountain, 1917, Marcel Duchamp, By me

That's the title for my work i think.

new idea for the visuals: rather than torturing myself with drawing 1200 frames (every time i try to calculate how many frames i have to draw it just becomes a larger and larger number and that upsets me) I've decided to further lean into the material practice of reusing and duplicating scenes. I want to cut up bits of the image sequence. duplicating and reversing them so it morphs with a back and forth motion in time with the sound.

#the copy #project 1 #Fountain #1917 #Marcel Duchamp #By me #ideas

BIT CRUSHED AUDIO

(mostly) final product audio for the copy

Visit Original Link

^old caption had to repost

#audio #progress #the copy #project 1