Reed + Rader

Interactive animation for SQUIDDIES - See all collection here.

How is digital going to change fashion? What is the future of fashion editorials? Photographic and animation duo Pamela Reed + Matthew Rader are probably the most qualified people to answer these questions. Reed + Rader have been together for 10 years, living and working together. Before everyone else, the couple understood how to take advantage of the Internet in order to promote fashion and create new fashion stories, using the GIF format and augmented realities. Their aesthetic is giving a fun, dreamy, colorful, fresh and futuristic twist to the fashion industry. Let’s have a chat with these two fashion geeks! See more;

▼ Read the interview ▼

Dora Moutot (DM) interviews Reed + Rader (RR);

DM: How did you meet? For how long have you been working together? Is it hard to combine love and work?

RR: We met online on a pre-Facebook social media website. We learned that we both were attending the same school (Art Institute of Pittsburgh) and living in the same dorm.  We both also had blue hair, so I guess it was meant to be. In February 2013, it will be 10 years together. For us it feels natural to work together, there’s not much separation between Reed + Rader and Pamela + Matthew. 

JOCK JAMS - See all collection here.

DM: Where do you live? When are you originally from? What and where did you study?

RR: We live in NYC. Originally we’re both from small towns in America. Pamela is from Pennsylvania and Matthew is from Ohio. We both studied Photography at the Art Institute of Pittsburgh and then we transferred and continued our studies at the School of Visual Arts in New York. Then it was a few years off and back to school at NYU’s Interactive Telecommunications Program (ITP).


DM: How do you think the internet and new technologies are going to transform fashion? How do you see the future of fashion? Don’t you think fashion is actually stuck in traditional medias?

RR: Digital clothes is going to be big, especially when augmented reality reaches its peak. We foresee designers creating digital clothes in on screen environments instead of actually creating tangible items.  Digital is a space that has only begun to be explored for fashion. 

POW - See all collection here.

DM: Who are your clients? How do you combine art and commerce? Do you find it hard?

RR: Our clients are usually in the fashion or advertising world who are looking to try something new and take advantage of the internet platform. The lines between art and commerce for us are very blurred almost to the point of sometimes having no separation.  I think with our aesthetic if you are coming to us for a job, you already know what you want and what you’ll get.

DM: Where does your inspiration come from?

RR: Internet, Video Games, Films, Friends, Cats.

POW - See all collection here.

DM: Do you believe in a “New aesthetic” fashion movement?

RR: Fashion only seems to have come curious of the internet in the last few years. And while the fashion powers that be may not quite be sure what to do with it it’s definitely on their radar. Fashion is thought of as this cutting edge thing but the status quo is actually really quite conservative. A decade of mainstream internet acceptance has usurped things though. Now anyone with cool ideas and great personal style can be a poster child for the fashion industry much to the chagrin of the old guard and admiration of the rest of us. Pixel prints are cool, but it will be better to see what happens in fashion after designers get it and dive a little deeper.

DM: You were already working with the GIF format and creating dreamy imagery before the rise of the Tumblr culture and aesthetic, how do you feel about it? How do you feel about early internet nostalgia, glitch and gifs becoming very popular? Do you find it inspiring?

RR: We’ve made GIFs since we were kids playing around on our Geocites and Angelfire webpages but it wasn’t until 2007 that we started seriously considering that the GIF could be a platform for us. People on 4chan, SomethingAwful, YTMND, etc had been making awesome stuff for quite a while but in fashion it had never really been done except maybe as a laugh.

So, being huge internet nerds, we abandoned our 4x5 camera and jumped into the digital abyss and haven’t really looked back since. The Tumblr juggernaut seemed to start around the same time but to be honest we never really used it much as a platform although people certainly shared our stuff there a bunch. Not that the GIF format was ever ours but there was a time when it felt like it was and now that there are a bunch of people doing GIFs in fashion so it feels less unique although it’s still mostly what we do. Looking back, the growth of the GIF as a platform in the last five years has been a good thing because it’s validated all the crazy things we were pitching to clients and editors years ago. The market had to be created and it’s finally caught up. We may be 10 steps on to the next things but GIFs are still new to a lot of people and that’s good for us.

Glitch GIFs are neat for a minute but we never personally got into them.

V - See all collection here.

DM: What is interesting about your work is that you use technology but you also use analog photography, illustrations and collage. How can you be so good at everything? And how would you describe what you do?


RR: We try to mix the real with the unreal. Our work ends up digital in the sense of being on the internet or on a screen, but it’s composed of many elements that were created by hand. Almost all of our collage work is done by cutting and gluing paper on top of each other. We love being able to create something tangible but then have it exist in the digital world. We quickly get bored so we’re always wanting to try something new.

Usually we have no idea how to technically do that something new so we have to teach ourselves. The internet is amazing for tutorials and self learning, take advantage of it!

AR_AVATARS - See all collection here.

DM: Who are your favorites digital artists?

RR: Artists making a living doing crazy shit on the internet and loving it. Artists that do cute things. Artists doing AR, VR, games, computer vision, terraforming, and other things in outer space. Friends With You, Memo Akten, Rachel Maclean, Brody Condon, Marc Owens, 0100101110101101, TYMOTE.

DM: Favorite blogs/websites?


RR: A mixture of political, science, art and cooking blogs.  Also, anything with cats on it. MisterWubba, Meowzas, TheVerge, TheGTF, TheYoungTurks, TheDish, BadAstronomy, AllRecipes 

DM: The characters in your work are usually very cartoon like. You seem to both still have a child soul, which is awesome! Who does the styling? Do you work with a team? ( hair, make up etc?)

RR: We work with a great team who understands us and we trust. We often work with stylist Aki Maesato who has a similar aesthetic to us. We’ll often send her inspiration images or sketches, she’ll shoot us back sketches, and then it will continue that way. We’ll keep each other updated along the way during the entire process.

Interactive animation for NAPTIME - See all collection here.

DM: What’s next for Reed and Rader?

RR: We stopped doing stills because it didn’t make sense to us to look at stills online when the medium allowed for multimedia. Now, video and GIFs seem dated because they are passive mediums and viewers can’t interact with them. Getting people to interact with our work either online or in physical installations is starting to be big for us. Being able to take our 2D worlds and walk around in them in 3D like a game is very exciting too. Besides that, simple things. More Cats. More Gardening. World Domination. Zero G. Colonization of Mars.

REED + RADER

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Interview by Dora Moutot for Triangulation Blog - July 2012 

Dora Moutot is a young journalist specialized in fashion within the digital culture. She is the founder of La Gazette du Mauvais Gout where she writes about bad taste, eccentric and kitsch trends. www.doramauvaisgout.tumblr.com

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Lorna Mills

I'm pleased to present an interview with Lorna Mills, who has been working with the GIF format since 2005. Lorna uses different ways to create her animated GIFs, a well known one is from the huge research she makes on the Internet about viral videos, images and even found GIFs, then she manipulates it to create her animated collages to show to the viewer her own story, her own world. I must say Lorna's work is great and funny, I love to see at her work and see how all those situations are put together. But it is not always funny Lorna works can be offensive, profane, sexy, violent, bizarre.. You will find a great variety of content on her pieces, as she says; men and women wanking with rubber dolphins, masturbating kangaroos, animals humping inanimate objects... more into the post!

Lorna Mills has actively exhibited her work in both solo and group exhibitions since the early 1990's. A founding member of the Red Head Gallery, her practice has included obsessive Cibachrome printing, obsessive painting, obsessive super 8 film, and recently, obsessive digital video animations incorporated into restrained installation work. See more;

▼ Read the interview ▼

Can you tell us a bit about your background?

I'm a Canadian artist, with a fair number of exhibitions in a variety of mediums over the years. I've also worked as a game programmer since 1994, starting off in children's CD-Roms, before moving to web based programs. (I also edit video for IPTV and iPad delivery) In spite of these skills I am more nerdish about WW2 and Cold War history than I am about technology.


When did you start to create loopable animations?

Probably around 1994, but they were all done in Director and delivered on CDs and floppy discs. Many were interactive, but ultimately interactivity didn't excite me as an artist. (That said, I enjoy a lot of artists who are coding right now) By 1998 I was making looped video work, but it took me until about 2005 to fall in love with gifs. A few years prior I had became friends with the artist/writer/publisher/curator Sally McKay, who's intellect leaves most of us behind eating her dust. She invited me to join her and post on her blog which at the time covered art/science/ideas. (so I gleefully set out and destroyed it from the inside.)

When I started really looking closely at her GIF work, I saw the potential for making gifs from my own video sources. Prior to that tiny epiphany, gifs meant 8 bit graphics to me, and though I was aware of a lot of artists making GIFs, I didn't really enjoy using graphic tools.

Most of your animated GIFs are collage compositions made from videos, pictures, and other GIFs found on the internet, do you also record videos and take pictures to make them?

Yes I do some work from my own footage, but the tone of that work is very different from my found gif collage work. For the last 7 years I've acquired the habit of shooting all my video footage with animated gifs in mind. To anyone but myself that footage is absolutely incoherent and dreadful.

I guess you have a huge archive of GIFs, videos and pictures, what kind of content you look for collecting them?

Yes it's huge and growing all the time, I spend almost two hours a day looking for new ones. First of all, I'm attracted to the same inane stuff that all the other 8 year olds on the internet like. (I take a bit of comfort in sharing base and common taste.) I have a good sense of the ridiculous, so extreme and inane activities appeal to me, cross-species sexuality, vehicular accidents, men and women wanking with rubber dolphins, masturbating kangaroos, animals humping inanimate objects, animals who smoke, people fighting, animals fighting, pro wrestling and owls doing absolutely anything. What I call near-porn has a greater spark of excitement than blatant pornography.

Your pieces represent different moods, some are very funny, emotional, or bizarre. They all tell a story or situation. What do you want to convey to the viewer?

I'm not always sure of that, but for the most part, absurd perpetual conditions, obsessions, perhaps puzzlement over and recognition of 'otherliness'. The shaky camera work in my own footage was always intentional, a way of acknowledging a human presence behind the technology, mimicking the rhythms of heartbeats and breathing.

A thin but very important thread that has tied all my work in different media together for over 20 years has been my belief that the particular and peculiar can expand to universals which, at an alarming rate, contract right back to the particular and peculiar - basically, constant oscillation punctuated by the odd abrupt rhythm.

I like your style and the aesthetics you use by cutting out these images, they usually presents hard pixelate edges. Do you work frame by frame? Which software/tools/technology do you usually use to make/move/animate/edit/export them?

Frame by frame, like an idiot. I was bored by the relentless four edges on my gifs and wanted to make them occupy a web page in a more interesting way, so I started marqueeing out the backgrounds at 90 degree angles with little care for cleanliness. (It also added another level of movement to the gifs.) I compose the separate animations in Flash and then export as a GIF again. That's where a ridiculous amount of precision comes in; playing and replaying so that they work together in an interesting way on every frame. (I can obsess on a 2 pixel shift for hours) I use Photoshop and Fireworks for resizing and colour manipulation, and I love simple animation programs like Easy-Gif Animator Pro ('pro' being an empty endearment, it's a pretty basic software)

You usually work on short loops, but I have noticed you don't mind about their size, do you care about the weight of your GIFs, is the weight an important factor for you at the time to upload them on the internet?

They absolutely have to exist on the internet first before I change their context for real life projects, it's the conditions of the net, economy and compression that makes the gifs more interesting to me than just straight up video. I've been a bit self-indulgent with the size lately. My host has a small upload limit per file, so I used to get around it by uploading separate gifs and composing them on the page with html, but now I just store bigger gifs elsewhere and hotlink them. I do care about the weight but I also know that people that only have dial-up aren't that interested in what I have on offer, so I make stuff for broadband. (and excuse me sir, but you are a fine one to talk about gif size!)

Where do you usually feature them? I saw them on your website but more often at Google+ , does G+  help you to promote them?

I only think of promotion as posting exhibition info on G+ and Facebook. The rest of the time I'm making gifs to throw in the G+ streams, so it doesn't feel like promo, it just feels like participating in a community of gif makers. On my own site, the gifs are just posted as I make them. Sometimes I wonder if I should do a more net-art aware site and tie everything up in nice neat little conceptual bows, but right now I couldn't be bothered to make that effort.

Is there any source of inspiration?

Mostly seeing what my contemporaries are making, but more importantly seeing the original public unattributed gifs grabbed from viral YouTube videos, network news, movies etc.

Could you tell us one of your favourite GIFs from you and another from other artist or just an artist you like who use this format? 

I know so many terrific artists working with this format, but Francoise Gamma's work is very special he/she (damn enigma.) is making figurative gifs that can be simultaneously elegant, sexy, graceful and tortured, qualities I love, even if I constantly fall short in my own work. (Francoise Gamma's work http://francoisegamma.computersclub.org/)

As for something of my own, the most resonant for me was the following set below. The images are little piles of jewellery and ornaments in my mother's bedroom that I shot the night before she died. I had left the hospital late that evening, and I just remember standing in her bedroom and thinking that all these assembled things would be dismantled and dispersed in a matter of days, so in those moments they were vibrating (or perhaps that was just me). It didn't matter to me that the light was crappy for video, or the stuff was so ordinary, I knew the work would have some subtle power. (some of my non-artist friends are a bit shocked that I was thinking about making art that night, but that's what we do, if we can)

Tell us a bit about your latest or ongoing project. What about Sheroes #9: Dolly Parton? 

First of all, Sheroes is the invention of the extremely generous and multi-talented salonnière, Rea McNamara. It's a monthly limited-run performance event series that frolics in the aesthetic playground of media fandom such as fan fiction, fan art, fan videos, fan costume play etc. http://fuckyeahsheroes.tumblr.com/tagged/sheroes-9%3A-dolly-parton

Rea had already produced the first two in the series, when she approached me about programming projections of animated gifs. I admit that I was unsure of the project at first, there's a part of me that cringed at expressions like 'sheroes', 'herstory' and 'mythic female', all that debased coinage from a previous generation of feminists, but she won me over when I saw how she was embracing it with so much smart humour and energy. I think we only invited about six artists for the first gif projections, but they were so enthusiastic after seeing the event documentation that I got the confidence up to invite more gif artists to participate. Eventually Rea just left the GIF aspect of the events in my hands. What we now have is an ever expanding crew of gif makers, (we are up to 29 for Sheroes #9) that includes many well known active net-artists, as well as younger artists, both male and female, from all over the world. Previously, my own taste in exhibitions/events was more towards small tightly focussed curatorials. Inviting serious artists to participate in fan culture has had some surprising results, though no one should be surprised that serious artists want to do their best work no matter what, or that the work gets better and better.

Lorna Mills

http://www.digitalmediatree.com/sallymckay/LornaMillsImageDump/

Samantha Harvey

Samantha Harvey, 1988, UK | GIFfer since January 2011 | Loops: 2-30 frames | ∼500Kb

Can you tell us something about your background?

I'm from Bath in the UK and grew up there, and actually used to do a lot of painting and illustration, but I guess I discovered photography on the art foundation course I did after A-Levels and carried on from there. Then I went to Kingston University in London and studied Graphic Design and Photography which I graduated from last year, I now live in central London working for a few different people whilst also trying to continue my own creative work.

▼ Read the interview ▼

When was your first contact with this loopable world?

Not very long ago actually, I think the first time I ever made one was maybe around January this year. I'd started noticing gifs and thinking they were pretty cool, and then I decided to create a Tumblr for a place I could put new experimental work on and it gradually became more and more devoted to gifs and also Tumblr is a great place to find new gifs because they are very popular and there are constantly new ones popping up.

What is your goal making and designing gifs?

I'm not really sure to be honest! I just really enjoy making them and think I might have become a bit obsessed with them in the last couple of months, I guess I would like to start making more using my own imagery where I can plan them out, that would be fun! But so far I feel like I've just been really experimenting with them and seeing what I can do with them, so far I'm discovering that their potential is quite vast as you can literally imagine anything and then create it!

Do you consider your gifs part of your artwork, or you use them in other way?

I think they will definitely become part of my artwork when they are more developed, they're quite fun at the moment but I think when I have more advanced ideas and understand them more I will be able to create some that I will consider more as my artwork. Also though I think they are a great alternative way to show work, for example I think the SHOWstudio gifs work really well as I think they are a great medium to show films, especially fashion films because of how instant they are and I think they also bring still photos alive a bit.

Your animated gifs are from pictures found on the internet, videos and magazines... you said some of them are using your own photographs, so do you take pictures just to make a gif or would you use a photograph you had previously taken?

Sometimes I go out intentionally to make gifs with my photos so when I take the photo I will stand there for ages with my camera glued to my eye and take lots of photos, which is quite funny, I need to start using a tripod really. And other times I will look back through my photos and see a particular photo on its own that I think of something I could do to it. This is a good example of one because I wanted it to make the building look like it had a heartbeat:

You have a tumblr dedicated lately to this kind of crazy and fashionable loops, is there any reason you make them in b&w? On your website there are not any of your previous photographic work in b&w.

Yes I don't think I had done much black and white work before I started making gifs, there are a few my Flickr page. But there are a few reasons why I've been making most of them in black and white (there are some in colour because I haven't wanted to alter them in any way) but one of the main reasons is because when you upload gifs to Tumblr they can only be a maximum of 500 pixels width and 500 kb in size, so they are very low quality and I found the more elaborate ones in colour looked really horrible because of the dithered effect you get with gifs, and they looked a lot better in black and white. The main other reason is because when I use other people's imagery and make them into gifs I wanted them all to have a bit more uniformity when you scroll down my blog, so it felt a bit more like they were more in a series and not all completely random and unrelated.

How do you work exactly? You have an idea and then search the picture you want for the editing and animating it, or you find any picture and then you work on that image?

A bit of both really, sometimes I'll think of an image that I think would be cool to make into a gif but a lot of the time it's work I come across and I think that I have to make a gif out of it. Also I make a lot of gifs from films, I spend quite a lot of time browsing through vimeo, I think gifs are a very effective way to show films as you get a better sense of what they are about rather than just showing them in a series of still images. Also sometimes though I won't think of anything until I have the photo in front of me, I think I like to make mini stories going on in still photos that just continue in this loop forever and ever.

Which software do you use to make/move/animate/edit/export them?

I use photoshop for all of the gifs I make, which is why I like making them so much I think. As because my work if generally photographically orientated I understand photoshop and therefore can be quite creative within it.

What are the file sizes (MB?) Is the the size important for you when uploaded to the internet?

On Tumblr they can only be 500 KB maximum and 500 pixels in width otherwise they won't animate, but on my blog samantha-harvey.blogspot.com and other websites there isn't a limit so they can get up to quite large file sizes if they have a lot of frames. 

You usually work on short loops, how many frames do you usually use?

It can vary from 2 frames to about 30 I think is the maximum amount of frames I have used so far for one gif, but I'm sure they will get more elaborate as I make more!

Are your gifs inspired from anything or anyone?

They are inspired from a lot of things, anything I come across really that sparks off an idea. I've started making funny sketches of random ideas that pop into my head, and I'm always browsing online for gifs or anything really! I can be inspired from just a photo I have found or maybe an exhibition I've gone to see or something else completely unrelated to art.

Show us one of your favourite gifs.

I think this has to be one of my favourite so far, I had to stand watching the guards for aaaages, and then when they started marching I had to stand very still and take lots and lots of photos, I think they thought I was a bit weird, one of the guards stuck his tongue out at me at the end too! But it was quite fun when I got home and could make them do this funny continuous dancing march forever and ever!

What are you working on at the moment?

I've started getting a few commissions from artists to make gifs for their websites, I think they're really great to show the process behind someone's work. For example I've recently made one for an artist who wanted one showing his drawing process from the first few sketches to the finished piece, so I blended them together and now he wants me to do some more. Also I have started planning out a few more gifs I want to make with my own photographs involving people, but I want just continue experimenting with them really and seeing what I can do with them, as I really think they will only ever be as good as your imagination. They are a constant and exciting challenge!

NOTE: Samantha will always source the image on her Tumblr, you can clicking on the gifs to know the original content. So if you want to know any of the original content of the gifs featured on Triangulation Blog please find the links on her Tumblr.

www.samantha-harvey.tumblr.com

www.samantha-harvey.co.uk

Dylan Fisher #oscillation img {float: left;} celling="0" padding="0,0,0,0"

Hace poco encontré algunos gifs animados realizados por Dylan Fisher, me llamaron la atención, por su sencillo diseño, me gusta también el hecho de que sean monocromáticos, y sobre todo su movimiento independiente en este caso llamado "Oscilaciones" ( ya que cada gif está compuesto por varias imágenes).
Dylan nació en Seattle, Washington, actualmente vive y trabaja en Brooklyn, Nueva York. Estudió artes plásticas en Parsons School of Design con un enfoque en la pintura abstracta. Su obra digital comenzó como una excusa para continuar creando imágenes fuera del estudio, por lo que desde entonces se ha interesado más en la animación GIF, y en la naturaleza de una imágen individual en movimiento, como son sus obras más recientes donde forma varias imágenes en movimiento que interactúan unas con otras (muy interesante).

 Interview after the jump;

I recently found some animated gifs by Dylan Fisher, they caught my attention, I love their simple and geometric design, love also the monochromatic colors and their independent movement called in this case "Oscillations".
Dylan was born in Seattle, Washington, currently lives and works in Brooklyn, New York. He studied fine arts at Parsons School of Design with a focus on abstract painting. His digital work originally started as a way for him to continue creating images while not in his studio, so since then he has become more interested in GIF animation, and the nature of a single, moving image such as his most recent work, the way multiple moving images interact with each other (really interesting).

Tus anteriores trabajos son más abstractos y con un estilo digital con más ruido, sin embargo ahora has adoptado un estilo más limpio y geometrico, a que se debe este cambio radical?

Paso mucho tiempo explorando el ruido abstracto en los gifs, son el resultado de la experimentación con la conversión de bits aislados de vídeo digital a la animación gif. Depende de lo que este usando para crear las animaciones, el resultado puede ser más abstracto o, en cambio si creo animaciones fotograma a fotograma, el resultado es mucho más limpio. Cada vez me veo más atraído por las formas geométricas simples. Hay muchos modos en los que cuanto más simples son las formas más poderosa visual y atractivamente se convierte.

Your previous work is more abstract and has a digital style more noisy and now you adopted a cleaned and geometric style. Why?

I spent a lot of time exploring the more abstract 'noisy' gifs, which are the product of experimenting with converting isolated bits of digital video to gif animation. Depending on what I am using to create the animations, the result is either more abstract or, if I am creating frame by frame animations, the result is cleaner. I find myself more and more drawn to simple geometric shapes. In a lot of ways the more simple a shape, the more powerful it becomes.

En la serie de gifs "Oscillation vemos formas negras geometricas como cuadrados, circulos y rectangulos, que pasa que no te gustan los triangulos negros, eh? jejeje...

Sí, si que me gusta, he hecho un gif con el triángulo negro (ver aquí) estoy realmente interesado en imágenes grandes y de color negro. Intento hacer todas mis imágenes potentes de manera que puedan existir sin ninguna explicación. Eso es uno de los motivos por lo que utilizo con tanta frecuencia formas simples. Además, los triángulos son muy populares, por alguna motivo, tuve que hacer uno. Pero me decanto más por las esferas y los círculos. Las "Oscillations" que he estado haciendo están relacionadas con la música (bueno, sonidos) que he estado haciendo últimamente. La idea se basa en varios elementos que van cambiando a diferente velocidades, cosa que se ha convertido en una gran obsesión.

In the Oscillation gif series we are seeing geometric black shapes such as squares, circles and rectangles. What's up with the black triangle, don't you like this shape? (haha..)

Yeah, I like it, I made a gif with a black triangle (see here) I am really interested in big, bold images. I try to make all of my images powerful, so that they can exist without an explanation. That is partly why I use simple forms so often. Plus, triangles are so popular for some reason, I had to make one. I am really more fond of spheres and circles myself. The Oscillations I have been doing are related to the music (well, sounds) I have been making lately. The idea of many slightly different elements changing at very slightly different speeds is quickly becoming an obsession.

Que herramientas sueles utilizar para crear y exportar tus impresionantes gifs?

Utilizo Photoshop para todos los gifs que hago, también para convertirlos y expportarlos. El ruido abstracto de los otros (ver ejemplo aqui) tienen mucho que ver con los clips de vídeo de corta duración que tomo con mi cámara digital. Por ejemplo, si voy grabar un claro cielo azul, a continuación, lo abro Photoshop y aislo cierto trozo del video. El resultado es una difusión muy sutil de píxeles. Me gusta convertir vídeos de corta duración e instantáneas y ver como cambia por completo su naturaleza (como un video de una pared blanca) dentro de la abstraccion es una interesante combinación de píxeles. Para las animaciones geometricas más limpias geométrica uso Photoshop, pero haciendo animaciones fotograma a fotograma, a veces tambien uso la interpolación para lograr ciertos efectos. Importante el uso de acciones personalizadas en PS ya que te aportan gran rapidez a la hora de la producción, a pesar de que todo mi tiempo lo paso en Photoshop.

Which tools are you usually using to create and export your amazing gifs?

I use Photoshop for all of my gif making, converting and exporting. The abstract noise gifs also have a lot to do with short video clips I take with my digital camera (see an example here). For instance, I will take a video of a clear blue sky, then open that up in Photoshop and isolate a certain small portion of the video. The result is a very subtle diffusion of pixels. I like turning short videos and snapshots of completely mundane views of nature (like a video of a white wall) into an abstracted, interesting combination of pixels. For the cleaner geometric animations I also use Photoshop but create the animations frame by frame, sometimes using tweening to achieve certain effects. Custom PS actions come into play a lot to make the production quicker. All of my time is spent in Photoshop though.

He visto que tienes muy buenas pinturas en tu portfolio, has pensado alguna vez en combinar las dos tecnicas, pintura y animación en formato gif?

Me considero un pintor que también realiza trabajo digital, y considero que muchos de los gifs abstracto son cortas animadas pinturas con pixeles. He hecho algunos experimentos, haciendo animaciones con pinturas individuales, pero definitivamente aquí hay un enorme espacio en el que explorar y unir estas dos modos de trabajo.

I have seen that you have a really cool paintings in your portfolio, Have you ever thought to combine paintings and gif animation? It should be really interesting, what do you think about it?

I consider myself a painter who also makes digital work, and I consider a lot of the abstract gifs to be sort of animated paintings with pixels. I have done a few experiments of making animations out of single paintings, but there is definitely room here to explore and link the two ways of working.

Dylan I really love to see your gifs on Triangulation, thank you very much for your time and thanks also for solved the HTML problem :)

dylanfisher.com