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This animation is really interesting in the way it's creator choose to talk about this theme. In this animation "routine" is treated as a litle creature that gets bigger and stronger the more the character acceptes his boring daily life. What this animaton akes me think is that humans need some short of thing to gat them out of their routine(even if just a little bit), other wise our life will get, not going to say boring, but kind of meaningless. Every day is just another day, we are living, eating, working, just for the sake of living, eating and working.

Routine. (2017). ROUTINE | Animation short film 2017. [Online Video]. 9 June 2016. Available from: https://www.youtube.com/watch?v=BRLmzQH-Hd4. [Accessed: 21 November 2018].

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This animations are very intersting in style and narrative, but I am not sure if this type of animation or work would be the best approach for this specific project. I like them for their style, but I won't be able to make sometihng with my current level of technical knowledge.

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Lentes: uma Janela para o Cotidiano - Valmir Dacil

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Lentes: uma Janela para o Cotidiano - Valmir Dacil

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This was a photography exhibition in Ink Gallery, on Galeria do rock. The title of the exhibition was what first made me want to see it, the concept in which the photographs were taken is relevant for the project and I thought it would be a great reference, but it wasn't as I expected. The exhibition was extremely poor,  the photos, although well taken and expressive, were badly printed on paper and glued to the wall. They were not even cropped and had the white borders of print, what I am almost certain that was not an intentional decision, given the lack of care in the other aspects of the presentation. Valmir's work was interesting but the terrible present ruined the experience of the exhibition, this makes me reflect on how the presentation is as important (if not more) than the actual work. Make note: Good work can look terrible with one doesn't give enough attention to presentation.

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A very helpful guide with tips for photography, specifically photos taken on the street and with people and the surroundings as the main motive of the pic. Contains advice on composition, camera settings, etc.

Maher, J. (2018). The Ultimate Guide to Street Photography. 1st ed. [ebook] Darren Rowse. Available at: http://digital-photography-school.com/ultimate-guide-street-photography/ [Accessed 19 Oct. 2018].

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The dPS Ultimate Guide to Street Photography

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This was a very interesting animation that called my attention at Bienal. The one thing that attracted me the most in this animation was its aesthetics. the bold line art creates a contrast with the white background making the viewer pay more close attention to the subject on screen, the animation and the movement itself. Another aspect that amused me was how vivid the animations were done, although quite abstract the lines, the movement and the characters had smooth animations that, for me, prevents the movie from been tedious, making it more enjoyable to watch. This was a great reference in terms of being an example of a style that might be used to create my own animations in the future.

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Entropy. (2009). Entropy - Curta-metragem animada. [Online Video]. 12 May 2009. Available from: https://www.youtube.com/watch?v=nwltCgkB6Pk&t=5s. [Accessed: 21 November 2018].

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Entropy. (2016). An Animated Short Film : "Hanging" - by Nick LeDonne. [Online Video]. 9 June 2016. Available from: https://www.youtube.com/watch?v=g0joParCg1Y. [Accessed: 21 November 2018].

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An Animated Short Film : "Hanging" - by Nick LeDonne

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This animations were a great reference for me on this project. I find the aesthetic that this technique-rotoscope- creates. The lines that are not very presize and the low frame rate are also interesting aspects and are not as difficult to do as more traditional animaion techniques. I'm intending to test this technique as a possibility for the final outcome of this project.

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Rotoscope animation. (2017). ROTOSCOPE ANIMATION. [Online Video]. 27 Set 2009. Available from: https://www.youtube.com/watch?v=63o3ENsF2kE. [Accessed: 21 November 2018].

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THOUGHT OF YOU. (2018). 2D Animated Short Film "THOUGHT OF YOU" Romantic Musical Animation by Ryan Woodward. [Online Video]. 11 September 2011. Available from: https://www.youtube.com/watch?v=qw32Z4qvtOE. [Accessed: 21 November 2018].

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2D Animated Short Film "THOUGHT OF YOU" Romantic Musical Animation by Ryan Woodward

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This work of Peréc is a very interesting writing piece. The writer proposed to himself to go somewhere in the town of Paris and make notes of every single little thing that happened there. Little details that most would not even notice like the bus that passes by and to where he goes, the peasants in the street, and the movement in the place in general. This a very interesting approach to question the matter of the routine and the daily life of people. I might do something similar as a test, just to see how this would come out in the project.

Morse, E.(2010).

Review: An Attempt at Exhausting a Place in Paris by Georges Perec. Bookforum[online]. Available at:https://www.bookforum.com/review/6481 [accessed 13 9.2018]

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Sep 24 2010

Erik Morse

In 1974, two years (or two years and one week, to be more precise) before Georges Perec initiated Life: A User's Manual, his 700-page magnum opus to the fictional 11 rue Simon-Crubellier, the Oulipian mathematician dedicated a rainy, October weekend to musing in Paris's real-life Place Saint-Sulpice. Armed with pen and paper (and likely a never-ending supply of Gitanes), Perec attempted to notate every person, object, event, action, and atmospheric modulation as they appeared from varying locations on the square. "What happens," Perec asks, "when nothing happens other than the weather, people, cars, and clouds?"

The response, Tentative d'epuisement d'un lieu a Paris, recently translated into English as An Attempt at Exhausting a Place in Paris, is a surprisingly compact document of urban signage and ephemera recorded in Perec's unadorned, albeit restive, voice. Long neglected by English-speaking scholars and Perec devotees for the author's other, more flamboyant endeavors, An Attempt... has remained a kind of secret treasure for those interested in Oulipo- and Situationist-inspired tracts of Paris. Marvelously simple and deceptively well-designed, Perec's slim volume presents itself as an artifact of the street, ushering the reader into a spontaneous phenomenology of words, conventional symbols, numbers, fleeting slogans, trajectories, colors, and, as he more technically describes them, means of locomotion, means of carrying, means of traction, degrees of determination or motivation, and body positions.

Perec's purpose in inventorying these moments- infra-ordinaire, as he labeled them-was relayed some years later in a short essay entitled "Approches de quoi?" ("Approaches to What?"), in which he explains: "What's needed perhaps is finally to found our own anthropology, one that will speak about us, will look in ourselves for what for so long we've been pillaging from others. Not the exotic any more, but the endotic.... We live, true, we breathe, true; we walk, we open doors, we go down staircases, we sit at a table in order to eat, we lie down on a bed in order to sleep. How? Where? When? Why?" For Perec, this search for a science of the quotidian appears through a cybernetic eye, a prosthetic vision that yearns to absorb every discernible "sight" into one undifferentiated depth of field. Like Paul Virilio's "picnoleptic," Perec's narrative sutures together scraps of Saint-Sulpice's space and time, breaks them down into their constituent micro-moments, and then reassembles a kind of pixiliated simulation of reality as an instantaneous, urban plenum where each and every oscillation evokes poetic and sometimes sublime significance.

Measured observations like "A rather big chunk of sky (maybe one-sixth of my field of vision)" meander into meteorological abstraction-"Night, winter: unreal appearances of the passersby"-while the recurring recitation of bus-lines ("An 86 goes by, empty/ A 76 goes by, full/ A 76 goes by, nearly empty/ A 63 goes by, almost full") evoke a tense cadence. Other notations bear a tongue-in-check intertextuality, as if Perec has discovered philosophical cryptograms messaging him serendipitously as fashion advertisements. Virilio, the great philosopher himself, makes an appropriately speedy entrance and exit from the square. And beneath Perec's intransigent gaze, even the spirit of Time seems to announce itself through the playful appearance of Thanatos and Eros, as when the church of Saint-Sulpice hosts a funeral, followed quickly by a wedding. Doves begin to circle the square at seemingly regular intervals. These are interspersed with sudden Cartesian soliloquies: "I can barely see the church; on the other hand, I see almost the entire cafe (and myself writing) reflected in its own windowpanes."

As his weekend meditations draw to a close, Perec asserts that he could well be in some other city entirely. "By looking at only a single detail...and for a sufficiently long period of time (one or two minutes), one can, without any difficulty, imagine that one is in Etampes or in Bourges or even, moreover, in some part of Vienna (Austria) where I've never been." Has he begun to discover the hidden semaphores of the Absolute? The symptoms of mental exhaustion? Both? Part of the fun of An Attempt... is not quite knowing the answers to these questions, and it is Perec's fastidious attention to this absurd anthropology that makes his departure into the banal so novel.

Erik Morse contributes to Bookforum, The Believer, Frieze, Modern Painters, and Interview, among others. His second book, Memphis Underground: A Dual Narrative of the Bluff City, written with musician/performance artist Tav Falco, will be published by Creation Books next year.

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An Attempt at Exhausting a Place in Paris by Georges Perec

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Sep 24 2010 In 1974, two years (or two years and one week, to be more precise) before Georges Perec initiated Life: A User's Manual, his 700-page magnum opus to the fictional 11 rue Simon-Crubellier, the Oulipian mathematician dedicated a rainy, October weekend to musing in Paris's real-life Place Saint-Sulpice.

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Perec, P., 2010. An Attempt at Exhausting a Place in Paris. Distributed Art Pub Inc.

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She is an artist that works with mainlly with games and illustratioms but she has really intersting production of comics that (comic strips actually) that talk about her daily routine in a very funny maner. With a fun and relaxed style she can bring the audience closer to to her routine. I might experiment doing sometihng related to my on routine doring this project.

Mikiko. 2018. Mikiko Comics | Games | Illustration. [ONLINE] Available at: http://mikikoponczeck.daportfolio.com/gallery/18887#6. [Accessed 19 September 2018].

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DeviantArt is the world's largest online social community for artists and art enthusiasts, allowing people to connect through the creation and sharing of art.

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This is a artist that does fun illustrations about the dailly lif with his wife. The comical approach is a way  of interpreting the routine a talk about it. I'm not sure yet if all go for this sort of approach, but it would be very achiveable, in terms of a part 3 project.

Yehuda Devir. 2018. yehuda devir comic artist. [ONLINE] Available at: https://www.yehudadevir.com/blog-one-of-those-days. [Accessed 19 September 2018].

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(Mckee, R., 1997. Story: Substance, Structure, Style, and the Principles of Screen writin. 1st ed. New York: ReganBooks)

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This references on colour theory and psycology are very interesting in the way thay elucidate me on how I can effectvelly use colour in my advantega on this project. Regardless of what my final outcome might be (photo, drawing/painting or animation), to know how colour can affect the viewer of my work and how it can impact the mood of the whole piece is going to help me a lot when I get to actually produce the work.

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Color Matters. 2018. Basic Color Theory. [ONLINE] Available at: https://www.colormatters.com/color-and-design/basic-color-theory. [Accessed 19 September 2018].

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Color theory encompasses a multitude of definitions, concepts and design applications - enough to fill several encyclopedias. However, there are three basic categories of color theory that are logical and useful : The color wheel, color harmony, and the context of how colors are used.

Color theories create a logical structure for color. For example, if we have an assortment of fruits and vegetables, we can organize them by color and place them on a circle that shows the colors in relation to each other.

The Color Wheel

A color circle, based on red, yellow and blue, is traditional in the field of art. Sir Isaac Newton developed the first circular diagram of colors in 1666. Since then, scientists and artists have studied and designed numerous variations of this concept. Differences of opinion about the validity of one format over another continue to provoke debate. In reality, any color circle or color wheel which presents a logically arranged sequence of pure hues has merit.

There are also definitions (or categories) of colors based on the color wheel. We begin with a 3-part color wheel.

Primary Colors: Red, yellow and blue
In traditional color theory (used in paint and pigments), primary colors are the 3 pigment colors that cannot be mixed or formed by any combination of other colors. All other colors are derived from these 3 hues.

Secondary Colors: Green, orange and purple
These are the colors formed by mixing the primary colors.

Tertiary Colors: Yellow-orange, red-orange, red-purple, blue-purple, blue-green & yellow-green
These are the colors formed by mixing a primary and a secondary color. That's why the hue is a two word name, such as blue-green, red-violet, and yellow-orange.

Color Harmony

Harmony can be defined as a pleasing arrangement of parts, whether it be music, poetry, color, or even an ice cream sundae.

In visual experiences, harmony is something that is pleasing to the eye. It engages the viewer and it creates an inner sense of order, a balance in the visual experience. When something is not harmonious, it's either boring or chaotic. At one extreme is a visual experience that is so bland that the viewer is not engaged. The human brain will reject under-stimulating information. At the other extreme is a visual experience that is so overdone, so chaotic that the viewer can't stand to look at it. The human brain rejects what it cannot organize, what it cannot understand. The visual task requires that we present a logical structure. Color harmony delivers visual interest and a sense of order.

In summary, extreme unity leads to under-stimulation, extreme complexity leads to over-stimulation. Harmony is a dynamic equilibrium.

Some Formulas for Color Harmony

There are many theories for harmony. The following illustrations and descriptions present some basic formulas.

1. A color scheme based on analogous colors

Analogous colors are any three colors which are side by side on a 12-part color wheel, such as yellow-green, yellow, and yellow-orange. Usually one of the three colors predominates.

2. A color scheme based on complementary colors

Complementary colors are any two colors which are directly opposite each other, such as red and green and red-purple and yellow-green. In the illustration above, there are several variations of yellow-green in the leaves and several variations of red-purple in the orchid. These opposing colors create maximum contrast and maximum stability.

3. A color scheme based on nature

Nature provides a perfect departure point for color harmony. In the illustration above, red yellow and green create a harmonious design, regardless of whether this combination fits into a technical formula for color harmony.

Dynamic recipes for color harmony
An e-Course from Jill Morton, Color Matters author & consultant.

Color Context

How color behaves in relation to other colors and shapes is a complex area of color theory. Compare the contrast effects of different color backgrounds for the same red square.

Red appears more brilliant against a black background and somewhat duller against the white background. In contrast with orange, the red appears lifeless; in contrast with blue-green, it exhibits brilliance. Notice that the red square appears larger on black than on other background colors.

Different readings of the same color

If your computer has sufficient color stability and gamma correction (link to Is Your Computer Color Blind?) you will see that the small purple rectangle on the left appears to have a red-purple tinge when compared to the small purple rectangle on the right. They are both the same color as seen in the illustration below. This demonstrates how three colors can be perceived as four colors.

Observing the effects colors have on each other is the starting point for understanding the relativity of color. The relationship of values, saturations and the warmth or coolness of respective hues can cause noticeable differences in our perception of color.

Learn the language of color online
DIY - Learn at your own pace.

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Color theory encompasses a multitude of definitions, concepts and design applications. Basic concepts. The Color Wheel, Color Harmony,Color Context

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Andrew Price. (2018). Understanding Color. [Online Video]. 17 February 2014. Available from: https://www.youtube.com/watch?v=Qj1FK8n7WgY. [Accessed: 19 September 2018].

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Angela Wright. 2008. colour affects. [ONLINE] Available at: http://www.colour-affects.co.uk/psychological-properties-of-colours. [Accessed 19 September 2018].

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Riley Johnson. (2017). The Psychology of Color | Riley Johnson | TEDxLosOsosHighSchool. [Online Video]. 17 May 2017. Available from: https://www.youtube.com/watch?v=B7c0W5FZw64. [Accessed: 19 September 2018].

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The Psychology of Color | Riley Johnson | TEDxLosOsosHighSchool

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This one is a great example of how a creative display of the movie can add to the subject that is on screen. On this instalation the scenes were the protagonist was spying on people were put in actual windows, so that the viewer of the installation see the scenes as if he was the voyer him self. For me this a great way to imerse the viewer in the scene and it's subject. I want to try out diferent possibilities to create a different display that improve the imersion of the viewer on what he is seeing.

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I found this cabim a really good way to imerse the viewer in the scene that is been presented on the screen. The seats and the "walls", for me, kind of recreate the train in which the characters on the scene are talking.

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what I found intersting on this specific installation is the way that it interacts with the public. When you get inside the 'motel' there are some windows from which one can open the curtains to find out that the "sycho" is on the other side looking at you. Using actual footage from the original movie to recreate the scenes on the real world. It makes me wonder how I can play with the display of movies and animations to add more meaning to them.

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Story boards from 'Psycose'. It is really to see these story boards since they give an idea of the process of the creation of the scenes. To see how others have done their story boards is a greate way to visualise how I can plan my on scenes when I get to produce a movie or a animation scene.

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Repetion is the main subject that this page goes about. As repetion is an very important aspect of the daily live and, therefore, of my project, I believe that is important to have a idea of how repetion has be explored by other artists.

Widewalls. 2018. To Be Exactly the Same Over and Over Again - Repetition in Art. [ONLINE] Available at: https://www.widewalls.ch/repetition-in-art-artists-photography/. [Accessed 18 November 2018].

Report reference

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Without a doubt, rhythm in art can be considered one of the fundamental principles of art and its production. Interested in exploring more and understanding in depth yet another of its elements, the repetition in art is quite possibly one of the most interesting methods that the artists implement to create a certain movement, stillness, design, confusion, to rebel against the notion of tradition, re-define the idea of the original and the copies, or to cast true focus on one part of the artwork that either makes the work more visible or purposely invisible. Seen as one of the most important techniques for reduction, repetition is used in an equal amount both in music and visual arts[1] and is seen as both aesthetic and poetic device[2].

Why repeat? Do repetition artists use same motifs over and over again to achieve perfection or is there something more to repetition art? This and much more we have researched for you, so please read on.

Definition of Repetition in Art

Before we return to the some of the most memorable pieces of repetition in art and turn our focus on its history, we need to take a step back to mention the definition of repetition in the visual production. Seen as one of the fundamentals of creativity, repetition, in a similar manner to the rhythm, helps to create a sense of movement within an artwork. In visual production, it is a recurrence of a particular line, pattern , shape, or other visual elements in a single or part of the series[3]. The production of something which is repetitive yet at the same time exciting is a challenge, as many consider the recurrence as boring and still. This element many authors used on purpose to comment on the state of the world around us and to challenge the public to slow down the race for the achievement of consumerism gods and idols . Sometimes the repeat is used to build a sense of tension if no variations are implemented and it is often in the subtle detail that the key to the understanding of such pieces lies[4].

There is a variety of ways in which the repetition can occur. It can be even or uneven, regular or irregular, it can form radiation, occurring when the repeat of elements is spread out from the central point, or a form of graduation, where the parts slowly become smaller or larger[5]. Working with repeated patterns, and this was highly regarded during the Art Nouveau period and its pattern-making production, the surface of the work is enhanced, therefore made more interesting to the public, and at the same time, a sense of order is added to the composition. As a tool, repetition helps to build not only the visual part of the work but it often provides a deeper meaning to the artwork, hiding a more philosophical and conceptual identity.

History of Repetition Art

If we turn away from the definition of repetition in art and avoid to comment on every repeated line, surface, color, pattern, and image in visual creativity, today aided by the computer-based images , our attention is undoubtedly turned towards the concept and the inner workings of the artist or the particular period of production and the decision as to why they used repetition. We enter a world that speaks about the repetition in the choice of the subject matter, evident in the production of Claude Monet, Wassily Kandinsky , Kazimir Malevich , that formed some of the most influential avant-garde movements, or a world that uses repetition as a commentary tool of consumerism and mass production, decorating the creativity of Andy Warhol or various Minimalism artists.

Few of the major concerns that arise when one speaks about repetition are for sure issues of originality, authenticity, and appropriation. This is a major concern for the Postmodernism philosophy and the Dada readymades are marked as important images that ridiculed the need of tradition to provide special meaning to the production and the choice of materials. Pop artists , minimalists, performance , and conceptual authors , adopted the concept of undermining the authenticity and value. Appropriation in art , based on the re-use and on the repeat of existing images, raises concerns of copyrights since many contemporary artists use accessible imagery with little or no alteration to the original. Such subtle changes raise questions of identity, and if the new pieces trivialize the original[5].

Famous Repetition Artists

Over the last two millenniums, many artists of both the past and the present have focused on constant depictions of the same subjects and motifs in their work as this repetition is encoded in the very DNA of art creating - practice makes perfect. As ancient painters and sculptors created the same pieces over and over again until they've mastered their skill, this practice was carried over to the times of Renesance and Baroque. However, early avant-garde artists were the first ones that started repeating exactly the same motifs without emphasizing the goal of getting more proficient at painting, but instead striving for other intentions. Since then, repetition started to be a concept through which getting better was not the result an artist was going for. This radical conceptual change proved to be an excellent fit with the anti-traditional art forms of the 20th century, with many individuals relying on constant presentations of the same subjects and motifs to reach the desired goal. We will now present you with a list of the most interesting artists that worked or still work within the conceptual borders of repetition, all of them striving for different results with such creative strategies.

Claude Monet

Who better to top this list than the very man who established the modern concept of repetition without intentions of simply becoming more skilled? Claude Monet was a legendary French painter who was a leading figure in the time of Impressionism , arguably the first avant-garde movement , although this claim has been often disputed. However, the way impressionists approached their visuals was so radically different from classic art that the entire movement, including Monet, can safely be placed in the avant-garde category without much trouble. Claude aspired to paint the same sight over and over again in order to capture the view's different state depending on the time of the day in which Monet would paint them. He would make series of such paintings, out of which the most acclaimed are depictions of water lilies, train stations, grain stacks and cathedrals. Focusing on natural light, Monet did not change the perspectives or equipment, only the time in which he would paint. These pieces are not only important for the Impressionism phenomenon but are also iconic for their evidential role in presenting an avant-garde mindset of an artist that desired to break the bonds with traditional forms.

Piet Mondrian

Another avant-garde artist on our list, Piet Mondrian was a painter, theorist and writer who believed that art should reflect the underlying spirituality of nature surrounding us. In order to somehow make his aesthetics reflect such an opinion, he simplified the subjects of his paintings down to the most basic elements, revealing the essence of the mystical energy in the balance of forces that govern nature and the universe. Through such strategies, Mondrian eventually established a strict visual vocabulary of squares and lines, presenting subjects in a basic vertical and horizontal fashion. This methodical progression of his artistic style from traditional representation to complete abstraction did not come over night, but once established, Piet's entire output was consisting of repetitive depictions of squares with different colors, separated by strict bold lines. Mondrian's discipline in presenting squares is one of the most famous repetitive concepts in art and the Neo-Plasticism theory behind them was a key moment of abstraction in painting.

Andy Warhol

The unofficial king of repetitive art, Andy Warhol is the legend of the Pop art phenomenon and one of the most commercialized names of the 20th century. Inspired by the imagery of popular culture, Warhol simultaneously celebrated and criticized consumption choices and mass (re)production, effectively turning his work into a repetitive whirlwind and establishing the grounds for the most successful Post-World War II art movement. Working in a wide range of media including printmaking , painting, hand drawing , silk screening, sculpture, photography, music and film, Warhol became famous and influential for his repetitive images of soup cans, soda bottles, dollar bills and iconic portraits of celebrities like Marilyn Monroe, Mick Jagger, Elvis Presley, Jimmy Carter, Prince and Elizabeth Taylor. Andy would often insert identical pictures into one piece, assembling them with discipline and differencing them only with color. These illustrations, prints, and posters of the same subjects repeated in regular rows are some of the most iconic images of the 20th century, credited with re-defining many concepts and setting new standards in contemporary art.

Yayoi Kusama

Although the Japanise artist Yayoi Kusama creates in a diverse field that consists of everything from painting to sculpture, every single piece she ever produced has one same motif all over it - endless dots. These seemingly endless repetitive motifs are the trademark of Yayoi Kusama's art and eventually became an instant give-away that you are observing one of her pieces. Through her art of spots, Kusama proved one can work within mixed concepts of feminism , minimalism, surrealism, Art Brut, pop art and abstract expressionism without endangering any one style. Furthermore, the level of repetition of psychedelic colors became the most consistent one in the history of modern Asian art as Yayoi has been active for over sixty years. Due to her unique artistic vocabulary, this provocative avant-garde artist from Japan became one of the most prominent figures in her country's contemporary culture and an excellent display of consistency in modern art.

Yue Minjun

Yue Minjun can safely be defined as one of the most humoristic artists on this list. This Beijing-based painter and sculptor uses the same motif in every single piece he creates - his own face, usually frozen in a state of hysterical laughter. Regardless of what medium Minjun is working in, his self-illustrations are arranged in various settings, some ironically usual and some far from ordinary, all of them relying on Yue's face to be the focal point. With unique compositions such as a scene placed amidst a Jurassic period with two Juis laughing beside a BMW or a bunch of giggling Minjuns shooting another bunch of Minjuns who also have wide smiles on their faces, it is easy to figure out why this Chinese artist is held in such a high regard and has a wide fanbase. Minjun's unrivaled sense of humor is truly the strongest aspect of his work, but the fact he places the same motif on every single painting and sculpture he authored is what secured his place on this list.

Riusuke Fukahori

Combining the fields of art and magic with his work, Riusuke Fukahori is a Japanese artist best known for his three-dimensional goldfish paintings created by pouring resin. Fukahori brings these adorable creatures to life by portraying them to a degree it is literally impossible to figure out if you are looking at a photograph or a real animal, let alone a painting of a goldfish. These incredible examples are a result of a career-long dedicated and consistent depicting of these animals - all Fukahori does is paint goldfishes and that is the be-all and end-all of his work. The key aspect of his uniform work is the fact Riusuke bases his art around a repetition of liquid resin pouring and acrylic painting that give the desirable three-dimensional effect. To say these fishes are realistically depicted would be an understatement as the subjects of Fukahori's work have reached an impressive level much better described as an optical illusion. Furthermore, Riusuke claims he never uses photographs of models for his work, claiming that everything he paints comes directly from his memory and imagination.

David Begbie

One of the most unusual artists on our list whose style is completely unique and unrivaled, David Begbie is a Scottish sculptor that relies on metal mesh wires in order to depict human figures and facial expressions. Such a technique resulted in numerous similar pieces, most of them presenting us with human torsos which can safely be described as products of fine sculpting. These powerful, erotic, tactile and intimate pieces are one of a kind and they are only as astonishing as they are because Begbie was dedicated enough to devote his entire career to creating the same subjects through the same method. This is even more impressive when you realize just how hard working with wire mesh can be, especially when you devote so much attention to details as David does. In other words, David achieved what very few artists before him managed to do - reach the sculpted perfection of form. And when put together, his images are clearly a consistent output that is unlike anything you've ever seen.

Patterns and Repetition in Photography

Because patterns and repetition can be found everywhere around us, photography has a fairly easy job to capture it. "Fairly," because even though a photographer does not need to invent one from scratch, like painters need to, they should still have an eye for detail and the ability to integrate it in their composition the right way. The soothing feeling of routine that repetition provides for any kind of artwork is best expressed through contrasts, colors and structure in photographs, allowing the image to evoke a sense of unity, coherence and continuity, rhythm, harmony, vividness and overall organisation[7]. There aren't many photographers who go and intentionally chase patterns and repetitions found in their immediate surroundings; rather, it is often a chance encounter with natural or architectural elements that end up in their frame, sometimes even involuntary. Here, we're talking about artists working with nature and abstract image-making, although still life and aerial photographers are also known for delivering some stunning imagery.

Photographing the Repetitive

Going way back in the history of photography , there are the pioneering images of Eadweard Muybridge, who was the very first to create a study of movement. In 1878, he was hired by a race horse owner to give answer to the debate on whether all four feet of a horse were off the ground at the same time while trotting. His series of images show the same moving figure over and over again and although it wasn't exactly a repetition, it was probably the first presentation of such pictures since the camera was invented, and Muybridge did photograph the same items repeatedly. Correspondingly, Berndt and Hilla Becher documented the rural landscape of Germany throughout the 20th century; their photos of gas tanks and winding towers either show the same structure shot from different angles or group similarly-looking ones together[8].

Occasional repetitive elements can also be found in the production of Gordon Parks, André Kertész and László Moholy-Nagy. While Parks did portraiture and used patterns in group pictures, such as the 1963 Ethel Shariff in Chicago, Kertész and Moholy-Nagy were also street photographers who often took photos of lines, contrasts and geometric patterns in urban environment. In the 1930s, Margaret Bourke-White also donned several shots of workers and radio transmitters, which introduce broken repetition as another form of creativity which interrupts the continuity of elements and makes the image even more dynamic. More images of repetition photography can be found among the images by Harry Callahan, Bruce Davidson, Ed Ruscha and Ansel Adams, who came across many patterns in nature during his journeys. More recently, we can talk about the creativity of Edward Burtynsky and, at times, Andreas Gursky, who emphasize the notion of massive repetitions.

Tips - How To Create Interesting Patterns and Repetition in Photography

To Infinity and Beyond - Where is Repetition in Art Today?

Is repetition in art a thing of the past? It is highly unlikely that it will ever be. It is rather simple: its ability to express endless, flawless, captivating imagery is something that will never go out of fashion. Apart from the extensive legacy left by modern and early contemporary artists mentioned above, many of the creatives working today are interested in achieving perfect, succinct images using repetition, which is why we still see such a rich number of such images across a variety of media, genres and styles[9]. Think of the complex paintings by Chuck Close, who literally creates a bigger picture using smaller, repetitive elements, or Olafur Eliasson's numerous light installations,come to mind as well. Inspired by Escher's tessellations, artist Ben Parker uses paper to create mesmerizing artwork, and environmentalist Andy Goldsworthy teams up with nature to form radial sculptures and installations. Repetition was also embraced by the street art movement , in particular with those working with paste-ups and posters, like Shepard Fairey. Since the advent of computers and the birth of Digital art, many softwares have been used to create patterns, although perhaps the best display of repetition in this field is the invention of .gifs . In conclusion, repetition art offers a certain kind of ever-lasting inspiration that appeals to both artists and the audience, and this very fact makes us believe that the concept of reproduction is bound to repeat itself in the future as well.

Written by Silka P , Andrey V . and Angie Kordic .

Editors' Tip: On Repetition: Writing, Performance and Art

Exploring the atmosphere of our present, where the repetition is seen as a sign of boredom and alienation labor, the author of the book adds a twist and suggest the idea that repetition is a moment of bliss and rest. Examining the repeat across different disciplines, such as contemporary performance, dance practices, craft, and writing, the On Repetition: Writing, Performance and Art book offers a new face and originality to the interdisciplinary exploration of repetition within the contemporary culture - at the same time drawing on psychoanalysis, philosophy, linguistics, sociology, and performance studies.
Sources: All images used for illustrative purposes only. Featured image in slider: Damien Hirst - Spot Painting. Image via whatartdoes.wordpress.com; Yayoi Kusama - Kusama with Pumpkin. Image via anothermag.com; Andy Warhol - Dollar Sign; A Photography by Andre-Kertesz; Margaret Bourke-White - WOR radio transmitting tower, 1935; Gordon Parks - Ethel Shariff in Chicago, 1963. Image via the-vu.com

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To Be Exactly the Same Over and Over Again - Repetition in Art

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Without a doubt, rhythm in art can be considered one of the fundamental principles of art and its production.

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Artsy. 2018. Roman Opalka. [ONLINE] Available at: https://www.artsy.net/artist/roman-opalka. [Accessed 20 November 2018].

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Roman Opalka - 16 Artworks, Bio & Shows on Artsy

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Find the latest shows, biography, and artworks for sale by Roman Opalka. Painter and photographer Roman Opalka is best known for his lifelong project, 1965/1...

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koenigandclinton. 2014. Peter Dreher: Day by Day, Good Day. [ONLINE] Available at: http://koenigandclinton.com/wp-content/uploads/2014/01/PDreher_DayByDayGoodDay__PressRelease_.pdf. [Accessed 21 November 2018].

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Like Devir, this is another artist that found on every day an inspiration for making comics. With lots of humour, she talks about little things that happen in the days of probably, every one. Comics are a fun way to approach the theme of the daily life, not sure if I'm going to follow on this path, but is something that can be considered if I come to wish for the project to have a more fun approach.

Boredpanda. 2018. Artist Illustrates Everyday Life With Her Boyfriend And A Cat In 10+ Funny Comics. [ONLINE] Available at: https://www.boredpanda.com/funny-everyday-comics-murrzstudio/?utm_source=google&utm_medium=organic&utm_campaign=organic. [Accessed 20 November 2018].

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Our lives are full of fun, weird and borderline crazy moments that are usually not preserved anywhere else than our memories. California-based comic artist Mary Park decided that moments like these should be recorded and this is how the Murrz comic was born.

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Artist Illustrates Everyday Life With Her Boyfriend And A Cat In 10+ Funny Comics

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Our lives are full of fun, weird and borderline crazy moments that are usually not preserved anywhere else than our memories. California-based comic artist Mary Park decided that moments like these should be recorded and this is how the Murrz comic was born.

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Dasartes. 2018. Joseph Kosuth. [ONLINE] Available at: http://dasartes.com/materias/joseph-kosuth/. [Accessed 20 November 2018].

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Em agosto, ele estará em Santa Catarina abrindo com uma palestra nas comemorações dos dez anos de fundação do Instituto Luiz Henrique Schwanke. O encontro faz parte do projeto Arte conceitual: realidade e consistência?, Joseph Kosuth, artista ainda atuante e figura já histórica. Considerado o criador da arte conceitual, é um defensor ávido de outras esferas de compreensão do trabalho de arte que vão além da visualidade pura e simples e esbarram numa série de reflexões e provocações sobre a própria linguagem e suas reverberações semânticas e filosóficas. Embora algumas pessoas considerem que a importância dada ainda hoje às características conceituais de um trabalho seja exagerada e responsável ainda por certo abismo entre obra e espectador, já que terminam por exigir um conjunto de códigos e sistemas de embate muito específicos, sua relevância ao longo da segunda metade do século 20 é inquestionável. Aqui, optei por algumas poucas perguntas imbricadas que sejam capazes de promover a ampliação de um campo reflexivo para que o artista desenvolva seu pensamento.

Joseph Kosuth é, em certo sentido, um mito. O tempo, a história, a densidade dos trabalhos e a reinvenção da própria trajetória foram responsáveis pelo estabelecimento de uma potência criativa e crítica extremamente refinadas que certamente se estabelecerão cada vez mais como grande exemplo de uma obra múltipla e um artista imprescindível. Por outro lado, ser um mito, ou se tornar um, implica inevitavelmente estar aberto ao diálogo de maneira lúcida, aceitando a possibilidade primeira de que um trabalho de arte não tem e nem pode ter um único conjunto de forças que o define, lembrando inclusive que, quando exposto, jamais haverá uma obrigatoriedade de compreensão direcionada do mesmo; afinal, presume-se, a obra é pública. Talvez também seja interessante lembrar, em alguns casos, a necessidade de repetição de alguns conceitos, de explicitação e clarificação do pensamento com alguma paciência e, talvez, alguma humildade acerca do próprio legado também seja válida.

Nesta entrevista feita por e-mail, as perguntas estavam então prontas e, curiosamente, as respostas pareciam também estar. A impressão que surge, infelizmente, é de um escopo teórico ligeiramente autocrático e hermético, tensionado e com pouco desejo de diálogo, algo compreensível para um artista que talvez se situe naquela esfera curiosa onde se situam os artistas aos quais respeitamos seu passado e aprovamos de maneira inevitável tudo o que optem a dizer e a não dizer. Apesar de saber da personalidade controversa de Kosuth, achei importante manter tais perguntas e, inclusive, refazer o questionamento sobre o legado duchampiano. O resultado é curioso e, embora tenhamos duvidado da viabilidade da publicação da entrevista que segue, em virtude da rudeza e pouca generosidade de algumas respostas, defendi que a mantivéssemos; inclusive pela importância e pelo humor ácido que sobe por entre as fissuras do solo. De qualquer forma, sobrevive alguma elegância e invade a atmosfera a necessidade recorrente de lembrarmos que uma entrevista não implica, necessariamente, um embate.
Em seus trabalhos iniciais, há uma estrita preocupação com a linguagem e a semiótica. Contudo, ao longo de sua trajetória, é possível perceber que a palavra descobre o potencial sedutor de sua imagem e, eventualmente, surgem alguns trabalhos monumentais como, por exemplo, On the Phenomenon of the Library, An Interpretation of this Title, Nietzsche, Darwin and the Paradox of Content ou Neither Appearance nor Illusion. Embora sejam trabalhos bem distintos, o senhor acha que se trata de um deslizamento natural que ocorre em virtude de um encanto inevitável (e fetichista?) da obra enquanto tal, diante de sua própria história e diante do legado inelutável de sua visualidade (mesmo conceitual)?
Joseph Kosuth: Preciso redirecioná-lo para a verdadeira problemática da minha prática, que diz respeito à produção de significado na arte e, em consequência, na cultura. Os caminhos para alcançar isso, e algumas possíveis abordagens entre muitas, incluem, mas não se limitam ao meu compromisso e interesse pela "linguagem" simplesmente (seja através de Wittgenstein ou Saussaure, Benjamin ou Borges), ou pela história da sinalização em neon na publicidade e na cultura popular, ou pelas considerações sobre níveis freudianos de significado (na produção e na recepção) - isso para dar uma ideia do comprimento absurdo da lista de itens e aspectos que teriam impacto; lista que, em palavras simples, seria muito difícil de ser concluída pela própria natureza da prática artística. A questão é que minha problemática nunca pretendeu ser prescritiva, nem para mim, nem para ninguém. Ela certamente se originou, em parte, como uma resposta crítica contra a natureza prescritiva do formalismo greenberguiano, e se baseou, fortemente, tanto em minhas influências de fora do contexto da arte, quanto em meus estudos sobre história da arte. Pretendia ser uma forma de liberação de quaisquer limites prescritos, e sua influência, quase meio século depois, creio, confirma seu sucesso. Também acho que a chave para o pensamento é o uso do termo "deslizamento". Ele denuncia uma inclinação à ortodoxia que conduz a uma profunda má interpretação do processo artístico, ou, pelo menos, do meu. Você parece sugerir que eu deveria me fixar na percepção que você tem de mim aos 20 anos, minha idade quando comecei as Protoinvestigações, como Uma e três cadeiras, e não desenvolver e aprender a partir de minhas experiências e conhecimento - seja em teoria ou prática? Os trabalhos que você cita revelam a flexibilidade de minha abordagem e pensamento e, se eu "deslizei" no potencial da minha própria ortodoxia, digo bravo, pelo menos para aqueles que querem entender isso, de modo simplista, como sendo um.
Em Texts, (Waiting for -) Nothing' Samuel Beckett, in play, de 2011, o senhor busca uma relação curiosa com dois textos de Beckett: Waiting for Godot e Stories and texts for nothing. Para além de uma interpretação ingênua de que se trataria de um diálogo antitético entre a pseudoausência de significado em Beckett e a busca incessante e utópica do significado ao longo do seu próprio trabalho, fico pensando sobre como Alain Badiou aproxima Beckett de maneira muito delicada das ideias de duração, persistência, solidão partilhada e amor. Como, por exemplo, nas duas personagens que esperam Godot e que jamais se abandonam, ou mesmo em Happy Days, em que, apesar de toda a decrepitude da relação, sobrevive ali algo de afeto que talvez nunca consigamos compreender. Como o senhor pensa ests questão dentro de seu trabalho ou, ainda, onde haveria espaço para esse tipo de subjetividade dentro de sua trajetória? Há algum amor entre a palavra e a imagem?
JK: Estou começando a pensar que complexidade - complexidade manifestada no caso da arte - e sutileza estão além do próprio interesse e das capacidades do meu entrevistador, o que se somou a uma falta de entendimento sobre como uma obra de arte funciona. Enfatizando, é importante notar que não apenas eu perdi a última apresentação de Alain Badiou como todo mundo perdeu. Parece, então, que meu entrevistador tirou uma linha da minha conversa sobre esse trabalho e correu com ela, marcando pontos como se realmente não precisasse de muito mais. Arte não é simplesmente a ilustração de uma teoria, e os sentidos, ou a intencional falta deles, que ela gera, não são achados no índice de um livro. Eu, certamente, espero que haja questões a serem feitas sobre esse trabalho, ou terei falhado, mas não se trata disso. E, sim, há uma grande quantidade de amor entre palavra e imagem, particularmente, quando são juntadas por estarem na mesma família. Mas, como sabemos muito bem, relações familiares são, muitas vezes, complicadas e não satisfazem do modo como esperamos e desejamos.
Em Arte depois da filosofia, o senhor afirma que "toda arte, depois de Duchamp, é conceitual por natureza, porque arte só existe conceitualmente". Depois de tanto tempo, a sentença ainda é válida ou seria possível perceber um giro, uma torção nesse legado por vezes claustrofóbico (de tanta liberdade e abertura) da arte conceitual? O que viria depois da arte depois da filosofia? E, pensando um pouco mais sobre esse texto, de que maneira é possível associá-lo ao seu Wittgenstein's colour, de 1989?
JK: Eu escrevi isso quando tinha 23 anos. Quarenta e cinco anos se passaram e 43 e três livros foram escritos por mim ou sobre mim nesse tempo, assim como aconteceram trezentas e poucas exposições pelo mundo. Isso é o que veio depois de "arte depois da filosofia". Se você não puder ver/ler os trabalhos, espero muito que possa ler os textos. Eu sugeriria que a resposta está em ambos, mas ainda é muito cedo, em termos de história da arte. O contexto no qual o escrevi era parte de uma espécie de teoria agitprop contra o formalismo greenberguiano. Tinha algo a mostrar naquele contexto e mostrou, acho que bem. Mas claro que essa frase ainda é válida como eu quis dizer. Não tenho ideia do que significa para você, e se você acha que liberdade e abertura são "claustrofóbicas"; elas são, no fim das contas, a claustrofobia de Pinochet e Stalin, e você deveria se preocupar. O que você talvez ache claustrofóbico, como muitos acharam e acham, é o medo da responsabilidade sendo colocada sobre os artistas por buscar um significado de sua produção como resultado da liberação da limitação formal da atividade definida de um meio. Olhar para fora do cômodo ninho dos limites modernistas que a pintura e a escultura seguramente forneciam, certamente causa medo nos muitos que não estão prontos para essa tarefa.
Em sua tese de doutorado, a artista Daniela Mattos, ao comentar o trabalho paradigmático das três cadeiras, defende que há algo para além da tautologia de tais trabalhos iniciais que merece cuidado, pois "(...) o que me chamou a atenção no trabalho de Kosuth é o que pode estar aquém da tautologia, ou mesmo além: fui capturada ao perceber naquela obra tantas questões que não estão ali literalmente, mas existem e compõem, a meu ver, seu coeficiente artístico (algo que seria, conforme enunciou Duchamp, a relação entre o que o artista tem a intenção de expressar, e não consegue, e o que não intenciona, mas está lá)". O senhor concorda? Em sua opinião, ainda haveriam muitas outras camadas de reverberação do trabalho que lhe escapam? Ou o mérito da obra seria exatamente a precisão com que consegue resolver um problema específico?
JK: Ah, ótimo, uma pergunta sem machismo intelectual! As observações da Daniela Mattos sobre isso estão mesmo na direção certa ao revelar uma análise do eu estava tentando fazer com as tautologias e, mais importante, dado o despreparo com que muitos discutiram isso, por que eu estava tentando fazer isso. O uso da tautologia foi como o de um artifício construtivo, um que achei que soava filosoficamente e suprimiu várias das presunções modernistas sobre o fazer artístico. Isso, em grande escala, explicou como os trabalhos estavam sendo feitos, e autodescreveu porque eles tomavam a forma que tomavam. E na medida em que cada artista, em sendo um, está atrelado à expressão, não é necessário haver uma explicação expressionista nem para trabalhos individuais, nem para a arte em geral. Esses trabalhos mostraram como fazer isso com clareza e explicou sua necessidade. O que é para ser lembrado sobre as tautologias foi dito, de modo sucinto, por Paul Engelmann, o parceiro de Wittgenstein na edificação da casa da irmã, Margaret Stonborough: "A tautologia não é uma proposta cheia de significado (i.e. uma com um conteúdo): ainda assim, pode ser um artifício intelectual indispensável, um instrumento que pode nos auxiliar - se usado corretamente para captar a realidade, ou seja, para captar os fatos - a chegar a percepções que são difíceis ou impossíveis de se chegar por outros meios".

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Em agosto, ele estará em Santa Catarina abrindo com uma palestra nas comemorações dos dez anos de fundação do Instituto Luiz Henrique Schwanke. O encontro faz parte do projeto Arte conceitual: realidade e consistência?, Joseph Kosuth, artista ainda atuante e figura já histórica.

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Both artists from the XVI, what atracts me the most on this artist's work is the composition of big, detailed scenarios that both of them create as works. I have the intention of making a large illustration as a possible outcome for this project and the way this artists compose their environments might be a helpful reference of how I can make my onw.

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Pieter the Elder Bruegel. 2018. Pieter the Elder Bruegel complete works. [ONLINE] Available at: https://www.pieter-bruegel-the-elder.org/. [Accessed 20 November 2018].

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Pieter the Elder Bruegel - The Complete Works - pieter-bruegel-the-elder.org

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The complete works of Pieter the Elder Bruegel. Large resolution images, rating, ecard, download possibility.

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Hieronymus Bosch. 2018. Hieronymus Bosch complete works. [ONLINE] Available at: https://www.hieronymus-bosch.org/. [Accessed 20 November 2018].

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Hieronymous Bosch Complete Artworks Reproductions | hieronymus-bosch.org

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Find out the Hieronymous Bosch handmade oil painting reproductions. Observe the superb style of the artist online, high-resolution images and ratings. | hieronymus-bosch.org

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This is a very interesting work of the artist where he repeatedly makes paintings of dates in different cities, not mattering where he is. I'm not really interested in the aesthetical look of this paintings, as they look like something made by a computer font. Not like it is problem, but it is a very graphical painting and for this project, I am looking for something more figurative.
Conceptually, though, I get more curious, the repetition of this work has become a sort of routine in the life of this artist, a routine that ended up creating a body of work of his. This is a way of working that I might use to create a considerable amount of work and then picking the best for further use.

Guggenheim. 2018. Paintings: Today Series/Date Paintings. [ONLINE] Available at: https://www.guggenheim.org/arts-curriculum/topic/paintings-today-seriesdate-paintings. [Accessed 20 November 2018].

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On January 4, 1966, On Kawara began his Today series, or Date Paintings. He worked on the series for nearly five decades. A Date Painting is a monochromatic canvas of red, blue, or gray with the date on which it was made inscribed in white. Date Paintings range in size from 8 x 10 inches...

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This is a movie where the main character is traped in a time loop and has to re-live the same day over and over again. Although this might be a little too fantasious, it is indeed a very interesting approach to the theme of our lives and makes one think about how he lives his days. I'm not sure if such fictional approach is what I want to pursue on this project, but the reference can come in hand as to expand my perpectives under this theme.

Groundhog Day (1993). Directed by Harold Ramis [DVD]. EUA: Columbia Pictures.

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Groundhog Day (1993) ⭐ 8.0 | Comedy, Drama, Fantasy

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Again a show where a time loop causes the recurrence of some actions and events in the lives of the main character. I likely not use a "time loop" taken straight out from sci-fi on the project. The reason is that I want the project to show and reflect the routine of people in our society, therefore I think a too fanciful element would detract the attention from the main subject of exploration of the project. But the idea of using a "loop" doesn't look bad for the sake of showing the repetition present in our lives.

Edge of Tomorrow (2014). Directed by Doug Liman [DVD]. EUA: Warner Bros.

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After watching the trailer i was really hyped about the movie because of its theme and potential to be a really good movie. But on the other side i knew how bad the most potential good movies in the past ended up. I was scared that they screw it up and give us another Oblivion or Ilisium with much cgi-effects and bad story and no real story and/or characters.

So i took my girlfriend and went in the movie with mixed feelings. But then, right from the beginning, i knew this movie would be fantastic. The first minutes really hooked me and i found myself in a funny, filled with perfect action and intelligent movie. You had the feeling like you were directly in it and you really feel with Tom Cruise from the beginning to the end. I don't like Tom Cruise in general but this role just fits him. Nobody who sees this movie could deny this. From minute to minute i was more and more in this fantastic story and wanted to last forever. But eventually the movie ended and i was really satisfied with everything.

Two main characters who played perfectly, a fascinating story well told and really fast and good looking action made it for me the best movie i watched in a while (and i watch pretty much movies). Even though i don't like to recommend movies because of different tastes I really want to do this with this movie. The story is well told and there are no boring repeatings. Even my girlfriend who normally don't like movies with much action liked it a lot and added Emily Blunt to one of her favorite actresses of all time.

Oh well, 10/10

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After watching the trailer i was really hyped about the movie because of its theme and potential to be a really good movie. But on the other side i knew how bad the most potential good movies in the past ended up.

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On a first look, this anime show may not have any relation at all with the project. The show is about girls with magical powers fighting monsters, this is clearly not related to the concept of my project. however, one the aspects of the plot are the presence of a time travel loop that causes the main characters to repeat endlessly the same events in the story and is this repetition that conceptually interests me and makes this show a reference. The idea of loop/repetition is intrinsic to a "routine". I am yet to decide if the project is going to have a story or plot, but independently of that the repetition is an element that I'll make sure to be clear on the project

Puella Magi Madoka Magica (2011). Directed by Akiuki Shinbo [DVD]. Japan: Shaft Studio

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Sakurazaka, H. (2014). All you need is kill. 1st ed. São Paulo: JBC editora.

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ResearchGate. 2018. Jheronimus Bosch and the Origins of Evil. [ONLINE] Available at: https://www.researchgate.net/publication/250395681_Jheronimus_Bosch_and_the_Origins_of_Evil. [Accessed 20 November 2018].

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Adobe blog. 2017. Moving Art: How to Create a Rotoscope Animation in Photoshop CC. [ONLINE] Available at: https://theblog.adobe.com/moving-art-how-to-create-a-rotoscope-animation-in-photoshop-cc/. [Accessed 1 October 2018].

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With the right tools, you can create a simple animation, like a GIF, in a few short steps. And if you think that making a video clip into a GIF leaves little room for creativity, think again. Graphic designer Lindsey Deschamps specializes in unique motion graphics. "GIFs and funky illustrations are what I live for," Lindsey says.

Learn how to create your own rotoscope animation by following Lindsey's steps below and download the accompanying source file here.

Next, create another blank video layer for the color fill. Go back to the beginning, and color in each frame of outlines using the brush tool. I used a mix of different watercolor brushes from https://www.kylebrush.com/ to create varying textures for each color.

Adobe Products Featured

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Moving Art: How to Create a Rotoscope Animation in Photoshop CC | Adobe Blog

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With the right tools, you can create a simple animation, like a GIF, in a few short steps. And if you think that making a video clip into a GIF leaves little room for creativity, think again. Graphic designer Lindsey Deschamps specializes in unique motion graphics.

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Toom boom animation. (2016). Character Animation with Toon Boom Harmony. [Online Video]. 11 Mar 2016. Available from: https://www.youtube.com/watch?v=jMqFFnWCNv0. [Accessed: 20 November 2018].

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Character Animation with Toon Boom Harmony

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This were very helpeful technical videos that I used to learn some techniques that I need I order to produce my work. From how to make corrections on footage and how to roto animate.

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Matt Simpkin. (2006). How To Rotoscope in Adobe Photoshop and After Effects. [Online Video]. 28 April 2016. Available from: https://www.youtube.com/watch?v=V3L9pLwKLiA. [Accessed: 9 October 2018].

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How To Rotoscope in Adobe Photoshop and After Effects

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albertohardja. (2012). Isolate ONE COLOR with Adobe After Effects (selective color). [Online Video]. 29 January 2012. Available from: https://www.youtube.com/watch?v=WlCwYwpJYEU. [Accessed: 12 November 2018].

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Isolate ONE COLOR with Adobe After Effects (selective color)

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Lynda. (2010). How to stabilize shaky footage in After Effects | lynda.com tutorial. [Online Video]. 29 April 2010. Available from: https://www.youtube.com/watch?v=kc7wPh6dKfs. [Accessed: 12 November 2018].

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How to stabilize shaky footage in After Effects | lynda.com tutorial

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This series of paintings are a very intersting reference for my project. The idea of routine and the repetition of a determend action, daily, throught years and years, is very relatable with the concept of my own project, that is the "daily live", "routine". Here what calls my attention is not the appearence of paintings nor the technique used, but the concept behind their creation. I've not thought of creating a body of work by the repetion of a practice (like painting or drawing), but after seeing this work, it may be some thing that I could test out.

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This was a video of the "ground", literally. The whole video is just a camera positioned on a certain place (unknow), pointing to the ground. At first I just thought that it was "borring as hell", but after a while I started to realise some aspects of this work that haven't on the first look.
I keept myself insede that room for quite a while especting something to happen on the video, what is curious actually. although the video showed basically nothing, I keept watching, just for curiosity. The fact that nothing was happenig instigated me to see if something could happen. To think that such a "borring" video could catch my attention makes me think of how can I instgate the audience so to make they curios and keep watching my work when I actually get to exhibit it.

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This work called catched my eyes for the unnusual way that it was presented. It makes me think that there are so many possibilities of presentation of a video work- that are not limited to just a screen or projection-.

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This was a very interesting exhibition of photographs of São Paulo and the city's characters along the way down the last century. seen this photos makes you think about how people lived on those times,  imagining what they did and when. Makes you think what their lives were like and even compare it with the life and the city we live in today. These pictures where not extraordinarily different, they were not about famous events our places, they were just normal. Pictures of nothing special, the daily life in those times. This makes me think on how simple elements that we are used to seeing when shown to us can cause such a reflection. This is what I want to explore in my project, this call for reflection over the life of today.

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This was an exhibition of paintings in Funarte. The paintings portrayed scenes of daily life. I particularly disliked the style of the paintings and their composition in general, it attempts to be realistic but at the same time does not, lacks details, for my personal taste they looked odd. But this exhibition made realise that painting is a medium that I haven't thought about and can be a good idea to experiment with paint and ink since I already have some experience with these materials.

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Ted talk with Andrew were he tallks a little of his experience in animation making and story telling. It is really great to see a talk of one of the persons that made some of my favorite animated features of all times.

TED. (2017). TED Andrew Stanton - As pistas para uma grande historia. [Online Video]. 15 June 2017. Available from: https://www.youtube.com/watch?v=0mPAsSazdXE. [Accessed: 21 November 2018].

Report reference

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TED Andrew Stanton - As pistas para uma grande historia

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TED. (2013). Making a TED-Ed Lesson: Visualizing big ideas. [Online Video]. 25 November 2013. Available from: https://www.youtube.com/watch?time_continue=95&v=P50NcJLSJJY. [Accessed: 19 September 2018].

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Making a TED-Ed Lesson: Visualizing big ideas

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TED. 2018. Making a TED-Ed Lesson: Two ways to animate slam poetry. [ONLINE] Available at: https://ed.ted.com/lessons/making-a-ted-ed-lesson-two-ways-to-animate-slam-poetry. [Accessed 19 September 2018].

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Making a TED-Ed Lesson: Two ways to animate slam poetry

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Slam poetry packs an emotional punch by using powerful verbal metaphors; animation can do the same using visual tools. TED-Ed animators show how two separate techniques -- rotoscoping and more traditional hand-drawn animation -- bring to life the multilayered process of becoming a slam poet.

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Watched! Surveillance, Art & Photography. (2017). Watched! Surveillance, Art & Photography. [Online Video]. 3 april 2017. Available from: https://www.youtube.com/watch?v=aCVnV7Vl7HE. [Accessed: 21 November 2018].

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Watched! Surveillance, Art & Photography (english)

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This is a page that Talks about a exhibition centered on the tematic of survailence. The exhibition it self is interesting because it the works are about survailence and the every day live (that survailence captures). This makes this a very intersting reference for my project

CO Berlin. 2018. Watched! Surveillance, Art & Photography. [ONLINE] Available at: https://www.co-berlin.org/en/watched-surveillance-art-photography-0. [Accessed 20 November 2018].

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You are here

Exhibitions

Surveillance & Photography

"First of all, I know it's all people like you. And that's what's so scary. Individually you don't know what you're doing collectively." Dave Eggers, The Circle

Total surveillance? Video cameras in banks, department stores, and public spaces; algorithm-based advertising and cookies on the Internet; government data collection and private cloud storage-today, we take permanent observation and data sharing for granted as a normal part of our everyday lives. We are constantly using services like Google Maps, watching live streams of films, trying out exciting new health apps and exploring unimagined possibilities for self-tracking. We follow friends and complete strangers on Facebook, Twitter, and Instagram, and we ourselves are constantly being tracked. We profit from the new digital technologies and services and are willing to open up more and more of our private lives to public view. Surveillance and big data have long since become a major social issue.

Contemporary surveillance is not limited to visual monitoring. Yet to understand how surveillance works, it is necessary to address the photographic aspect. Today, our entire existence is being photographed and visualized to an unprecedented degree, raising new questions about voluntary and involuntary visibility as well as photohistorical issues of observing and being observed. The exhibition Watched! Surveillance Art & Photography examines the complexities of modern surveillance with a focus on photography and visual media. The works in the exhibition deal with themes ranging from technologies used by government and regulatory agencies to everyday surveillance practices that have become integral parts of our lives, especially in social media. The question is: How can contemporary art and media theory contribute to a better understanding of our modern surveillance society?

The Berlin exhibition presents works by around 20 international artists who offer different commentaries on and reactions to precisely this question. It combines emerging artistic practices, represented by young artists such as Julian Röder, Viktoria Binschtok, and Esther Hovers, with the work of internationally recognized artists like Hito Steyerl, Trevor Paglen, Jill Magid, Hasan Elahi, Paolo Cirio, Adam Broomberg & Oliver Chanarin, James Bridle, and Ai Wei Wei to present as wide as possible a spectrum of artistic approaches. The artists in the exhibition appropriate technologies like video surveillance, facial recognition, Google Street View, digital lifelogging, and virtual animation. They probe the need for safety and security, which is frequently used as an argument for increasing surveillance while often ignoring the problems of discriminatory controls and criminalization that follow. The viewer is invited to think about how we can live in a society with diverse surveillance networks without contributing to the inequalities that surveillance produces.

> take part and save the entrance fee
> accompanying program

The exhibition has been organized in cooperation with the Hasselblad Foundation, Valand Academy, Kunsthal Aarhus, and C/O Berlin. It was curated by Louise Wolthers and Dragana Vujanovic (Hasselblad Foundation), Niclas Östlind (Valand Academy), and Ann-Christin Bertrand (C/O Berlin). It is part of a research project launched by the Hasselblad Foundation on surveillance, art, and photography in Europe since the turn of the millennium. The accompanying book, published by Walther König bookstore-publisher, contains artworks by 40 artists as well as essays by numerous scholars and was selected by Time Magazine in November as one of the "Best Photobooks of 2016".! Watched! Surveillance, Art & Photography, 2016, 296 pages, 38 euros.

The exhibition in Berlin has been made possible through a generous grant from Hauptstadtkulturfond (Berlin Capital Cultural Fund).

As part of their inter-institutional cooperation, C/O Berlin and the Museum for Photography will be presenting three thematically related exhibitions on the topic of surveillance and photography starting in February 2017 with artists representing diverse current and historic artistic positions.

Since June 2016, C/O Berlin has been hosting discussions on the topic of surveillance with experts from a variety of disciplines. The next event in this series will take place on February 18, 2017; the series will end with the exhibition Watched! Surveillance Art & Photography in April 2017.
> accompanying program

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Watched! Surveillance, Art & Photography

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Exhibitions Surveillance & Photography "First of all, I know it's all people like you. And that's what's so scary. Individually you don't know what you're doing collectively." Dave Eggers, The Circle Total surveillance?

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This is an very intersting work were the artit used cctv cameras to capture her in photos in the center of the city. The work makes us reflect on how we are always been whatched by cameras and how privacy is getting to more and more rare on the modern days. I realise that the kind of work I am doing, using photos and videos of places in the city to profuce something different is very relatable wih survaillence art. Seeing this work makes me think about the possible things that can be done with this type of material, ither by using the rough videos and photos or using then to make something else.

Jillmagid. 2018. Evidence locker. [ONLINE] Available at: http://jillmagid.paas.webslice.eu/projects/evidence-locker-2. [Accessed 20 November 2018].

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Jill Magid is an American artist and writer. In Magid's work, she forms intimate relationships with systems of power, including police, secret service, CCTV and forensics.

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This is a webpage that makes some coments on kyle McDonalds's work.

Vice. 2018. Watch 12 Hours of London’s Piccadilly Circus in Crowdsourced Surveillance Art. [ONLINE] Available at: https://www.vice.com/en_us/article/gvwdgx/watch-12-hours-of-londons-piccadilly-circus-in-crowdsourced-surveillance-art. [Accessed 19 November 2018].

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Screencap by Kyle McDonald

In Exhausting a Crowd, new media artist Kyle McDonald, whose work encompasses algorithmic and glitch art, fuses the hacker impulse with playful exploration of a single city space. McDonald describes the website as a "crowdsourced description of 12 hours in Piccadilly Circus, London." The site's visitors can watch the CCTV-esque feed and add their observations of the people and the public space.

The Situationists in the late '50s, created psychogeography, the art of aimlessly drifting through cities, in an attempt to make cities fun and fascinating again. And in 1974, Oulipo novelist Georges Perec wrote An Attempt at Exhausting a Place in Paris, a work that catalogued those features of a city space that typically pass unobserved, like pedestrian patterns and bus schedules.

"Perec's concept was the initial inspiration: complete transcription of single time and place," McDonald told The Creators Project. "This is of course related to the goal of modern intelligence efforts: mass surveillance of every time and place. The lesson we learn today, over and over, is that the information itself is a distraction."

McDonald believes that with more information humans will still make the same decisions, manipulating the data to support those decisions.

"Mass surveillance creates distance rather than deeper understanding," McDonald added. "Perec captures this distance, noting how anything that does not repeat appears random, and even things happening 'a few meters' from him, he can't really capture or understand."

McDonald said Exhausting a Crowd is an attempt to focus people, if only for a moment. McDonald chose the camera's position to imitate the surveillance camera's perspective, not that of the person on the bench (à la Perec).

To capture the 12 hours of footage, McDonald's videographer Nico Turner used a GoPro Hero 4, recording at 4k 30 frames-per-second with a modified 12mm lens. McDonald and Turner used two high-speed MicroSD cards, swapping them every two hours while the camera ran off USB power. After stripping the audio, McDonald uploaded all six videos (approximately two hours each) to YouTube, which handles the buffering and streaming. As for the site's frontend software, McDonald's collaborator Jonas Jongejan wrote it in TypeScript.

"I tried to prime the site with a lot of notes describing what was happening in a very dry, removed way, [and] I even got some friends to help with this," McDonald said. "But, in the end, dry descriptions only make up maybe five percent of the 24k plus notes."

"Most of the notes are written from a first person perspective, or they are very imaginative interpretations only vaguely connected to the actual scene," he added. "I wonder if Perec had the same stories running through his head? Perhaps if he had published anonymously they would have come out."

See more of the artist's work here.

Related:
See Germany's Most-Monitored Areas in Collaged Surveillance Snapshots The All-Seeing Surveillance Eye Is Tackled In Jud Turner's Impressive Sculpture This Installation's Approach Towards Public Surveillance Data? Shred Everything

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Watch 12 Hours of London's Piccadilly Circus in Crowdsourced Surveillance Art

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Screencap by Kyle McDonald In Exhausting a Crowd , new media artist Kyle McDonald, whose work encompasses algorithmic and glitch art, fuses the hacker impulse with playful exploration of a single city space. McDonald describes the website as a "crowdsourced description of 12 hours in Piccadilly Circus, London."

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This is an incredible work of the artist. He positions a camera on a public space and leave it recording everything that is happaning, one can access this footage via a website and is asked to coment on what the people in the video are doing. One of the artist inspirations for this work was Peréc's 'an attempt to exhast a place in paris', the same book that I used in the begging of this project as a reference. But he placed the camera in a higher level, like a survailence camera. I was planing to use the camera on a tripod, to have an "eye level footage", but I might test some different angles and positions on the footage.

Exhaustingacrowd. 2018. exhaustingacrowd. [ONLINE] Available at: http://www.exhaustingacrowd.com/birmingham. [Accessed 20 November 2018].

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Crowdsourced annotation of twelve hours of footage, shot at Piccadilly Circus, London.