WendyPaint℠ by Kim Asendorf

by mthw

WendyPaint℠ is to me one of the greatest projects of this year, it has the same DNA than its creator, online based, patterns, pixels, gradients, glitches and other properties you can find on Kim Asendorf's work. It is basically an online pixel pattern painter, where the user has to create his/her own patterns and paint with. All the patterns are created into a 32 x 32px box which is the maximum size for the brush and in that space you can create whatever you want, I think 32px is enough for a pixel pattern tool, it's the double size than a favicon and per example you can reproduce a lot of already existent icons from the internet whose fit perfect on that space. To build your own patterns it's an interesting and creative process, one has to care quite a lot about the edges of the pattern because WendyPaint only offers one way painting mode which is by dragging the pattern and doing a continue stroke if you keep the brush going on, and one click equals one pattern, so edges are important on here. Once the pattern is done you can edit it using some rotating and flipping features and save them in different modes, but what it's really nice it's that you can also create others using little code through the colour pattern generator and modulator which works using i, x, y, w; variables and with that it's possible to create infinite geometric and glitchy patterns and gradients very quickly, some examples into the post. Another good point is that the users have the option to share the patterns they do and build a public huge archive of patterns, good online based concept. It also has a Stream where there are all the public pieces, make sure you click on the checkbox when saving your painting as it is hidden by default. See more;

WendyPaint's interface it's simple as it's the whole project. I didn't find an undo command to go back some steps while painting but this is probably related to some glitch art concept considering every error beautiful and necessary for the final piece :) . Users who like geometry, the shift key works to keep the horizontal and vertical lines straight, it works on the canvas as well as on the pattern canvas.

In the first image below you can see the interface and in the second one how the modulator formula works, I have drawn a Nyan Cat and then used the modulator to distort it and create an abstract and random new pattern, it is even nice how it glitches. By the way in the Pattern Manager you will find a pattern album I did called eICONS containing few icons, an example of it's the first WendyPainting below.

For people who doesn't know to code and play with the colour generator and pattern modulator here are some examples to introduce you to the fun.

Generator Formula

RED	255	Math.floor(i/4)	i % w
GREEN	8*x	(x+y)*4	255 - (x+y)*4
BLUE	8*y	255 - y*8	y % 8
Alpha	-	-	(x % 4) / 4

Modulator Formula

Math.floor(Math.PI * x + w % y)

Math.floor(Math.random() * w * w)

i - x * Math.floor(Math.sqrt(y) * w)

x * Math.floor(Math.sqrt(y) * w)

x * Math.floor(Math.sqrt(i) * w / y)

i-x * Math.floor(Math.sqrt(x) * w / y)

Math.min(i, x) * Math.floor(Math.sqrt(x) * w / y)

Math.max(i%x, x*y) * Math.floor(Math.sqrt(i%y) * w)

Interface

WendyPaintings

by emilio

by dontsave

by mthw

by D0min0

by mrgnbyflwrs

by asdf

by anti render

Flat-Ripple by Nicolas Sassoon

Few weeks ago Nicolas Sassoon collaborated with Sidian Ersatz & Vanes for their 2013 collection. Nicolas was commissioned to make the design for a shirt and a website making reference to it, which is called Flat-Ripple.com. Above there is only a cropped version of the background he used for the piece, so beautiful!.

Gemis Luciani

"Gemis Luciani manipulates, de-composes and re-assembes common objects such as design magazines, phone books and 3D architectural renderings, he reconfigures them in newly built systems of shapes and surfaces. His collages and spatial, large scale installations are meticulously created, and rely on a strong minimalist aesthetic." See more;

Marginal Compositions, 2013

magazine on dibond with frame / 40cm × 50cm  x 5cm

"Marginal Compositions is a project in development centered on the investigation of a marginal space’s aesthetic qualities. The works are realized with various magazines. Every magazine’s page is folded in a way to erase the textual element of the previous page and to leave only the margin visible. The compositions are produced by repeating this action until the magazine’s surface is completely covered. Every work is a representative but not definitive image documenting this kind of space’s expressive potential."

Models, 2010

magazine on dibond / 40cm × 60cm  x 3cm

"Models is the title of a series of collages created by systematically folding fashion, design, music and architecture magazines. Each "model' represents a typology of movement within the enclosed layout of the magazine. Each page is folded upon the other so as to hide the text  of the previous page. This forms a flow of visual elements, a series of fragments that articulate vertically on the entire surface of the magazine. “Models” is a methodology for the construction of an image which interacts with the spatial organization of paper-based communication through a different compositional model."

Piece of Space, 2011 -13

phone book / 40cm × 30cm x 18cm

“Piece of space” is a research project on the relationship between word and image in the visual representation of urban spaces. The works are realized using telephone books, cut and fixed to the wall.

Flexible Shapes, 2013

 telephone directory of businesses / 40cm × 20cm x 10cm

"Flexible Shapes is a research project about a sculpture’s morphological flexibility,  made of a series of 10 pieces realized inposing an intervention onto a numer of Yellow Pages books. The works are modified after every public exhibition. The work’s transformation, the shape’s durability and its persistence in time are all defined by the exhaustion of the formal possibilities offered by their pages’ sharp cut. The works are exhibited as plastic temporary configurations of an object, until they reach a more permanent sculptural definition."

Akihiko Miyoshi

Interesting works and studies by Akihiko Miyoshi_

“Throughout my career I have been exploring the intersection between art and technology most frequently dealing with issues surrounding photographic representation. My works often reveal the conventions of perception and representation through tensions created by the use of computers and traditional photographic techniques.The photographs included in Abstract Photographs series are of mirrors, paper and tape often adhered to the surface of the mirror taken with a large format camera as they attempt to unpack the structural mechanics of photographic representation." - Akihiko Miyoshi. See more;

Abstract Photographs

[+] http://people.reed.edu/~miyos/Art/12/Abstract_Photographs/

"While the images allude to formal abstraction with various shapes and colors, the photographic nature of the images are emphasized as the image plane is selectively focused and blurred through the use of depth of field. The usually referencelessness nature of abstraction is contradicted by the presence of minute details captured by the use of a large format camera such as dust and scratch marks found on the surface of the mirror or the texture of the tapes used which makes the images photographically real and almost sculptural. These images have a duality (and tension) of being simultaneously abstract and photographically real. 

Further, as with many of my other works the photographs expresses my interest in the effect of digital technology in photography and its aesthetic. For example the choice of red, green, and blue tape is based on the three primary colors that constitute a pixel. From a far the tapes can be seen as the pixels glowing on the computer screen. While the images are made using primarily traditional photographic methods, they reference the new aesthetic that seems to be emerging as a result of the use of digital tools and technologies. Seen in this context, by always including only the silhouette of the photographer with his camera, the images remind the viewers of the presence/absence of the producer/author and the method."

18% Gray, 2010

"A "gray card" which has 18% reflectance is commonly used in photography as a reference to produce consistent exposure. We tend to think of gray, white, or black as neutral colorless color but in fact they are usually created using a combination of three primary colors. The piece "18% Gray" deconstructs this by effectively using depth of field, another photographic trope."

A Situation to be Viewed Through a Video Camera, 2010

"An installation consisting of a physical object (cardboard), a projected image (of a grid), and a video camera. The viewer is asked to view the installation through the video camera. The piece explicitly acknowledges and makes it an issue for itself how the viewer's perception is constructed by asking the viewer to see and acknowledge the effects every element has on the final view/image. At first, the viewer only sees a cardboard with light being projected on and a video camera pointed towards the cardboard. The "aha moment" occurs when the viewer looks through the video camera which turns a mundane scene into an aesthetic experience. One sees the cardboard, the projected image of the grid, and the rolling rainbow banding effect moving horizontally or vertically introduced by the video camera (created when the frame rate and the refresh rate of the projector are out of synch) combined to create an abstract picture. Upon seeing the abstract picture through the video camera, the viewer at last recognizes it as an aesthetic experience. It was made by a desire to create a piece that one had to see in person. Today most images produced are completely immaterial, captured on cell-phones and shared on social networking sites very rarely existing as an object. Photography has dislodged itself from its material substance and is about information and the transmission of information than anything else. If one can instantaneously download and view images that are art or of art, shouldn't we be asking ourselves "Why do we go see art, especially the photographic kind, anyway?"

RoRsesResoR, 2010

"A color video image of roses is projected onto faux roses that are spray painted white. The projected image creates the impression that the roses are colored. Upon close inspection the viewer sees that the image is slightly misaligned with the object and recognizes the separation of image from form. Further, the projected image very slowly separates itself, just as it has from form, into three primary colors that constitute the image."

via | i like this art

ANI GIF 2.3 ■ ARXITEKTON by Małgosia Woźnica

ANI GIF presents today the show 2.3 ■ ARXITEKTON by Małgosia Woźnica who has used a geometric architecture to build several random animated texturized blocks over a monochromatic grid using two different perspectives, I recomend to see all the pieces at ANI GIF as it makes more sense seeing the whole interface. See more;

One gif compositions by Evan Roth

Mesmerizing GIF compositions created by the animation and repetition of one single animated GIF over the website, each piece it's hosted in a different domain, this is an excellent work by Evan Roth! See more;

A Tribute To Heather, 2013

http://tribute-to-heather.com/

"A Tribute To Heather is a collection of ten new One Gif Compositions (next work featured in this post) created from single animated gif files found on Heather’s Animations. Heather’s Animations is a hand crafted personal archive of early Animated Gifs that has remained online, free for all and relatively unchanged since 1999." 

The new pieces are: flower-on-lightgrey.com,  hotairballoon-on-whitesmoke.com,  heather-on-cyan.com,  blimp-on-deepskyblue.com,  fighterjet-on-lightcyan.com,  email-on-floralwhite.com,  shuttle-on-dodgerblue.com,  deer-on-silver.com,  keyboard-on-deeppink.com,  revolver-on-mintcream.com

One Gif Compositions, 2012
http://www.evan-roth.com/work/one-gif-compositions/

"One Gif Compositions are a series of web-based pieces that use found animated gif files to create visual motion studies. Unique animation cycles are formed based on how the browser downloads and caches each of the individual .gif files over time. Each .gif in a given sequence is given a unique file name, convincing the browser to treat them as different images rather than copies of a single file."

via | today and tomorrow

Rhys Coren

SPINK at  Seventeen Gallery

Rhys Coren makes beautiful geometric and gradient based video loops which specifically explores the areas where British football social culture and dance music culture overlap.

Rosie & Phil ask to Rhys in an interview at jotta: You use both analogue and digital processes in your work, can you explain this a little more?

Rhys Coren: Yes. Using popular designs from British football kits, training kits and clothing worn by fans in the late 80s and early 90s – the brightest era of acid house music and rave culture – I have generated a series of painted and animated works. The initial stages in creating the finished work is the same. An image has to be appropriated, therefore digitised. It then has to be manipulated in Photoshop and Illustrator. Often I print sections out, work on them with pen and then re-scan. The aim is to divide the works up into their specific graphic components, treating each shape individually. When I am left with a vector drawing, I can then cut these patterns into wood, and paint each section individually before gluing it all back together, like a big jigsaw puzzle. The animations, which I make using Photoshop and Final Cut, undergo a similar process, only I make lots of little animations that all get 'glued' back together. Labouring over the image's individual parts mean that, when placed back together again in either an animation or painted work, the overall image picks up a range of new textures. It's often subtle, but enough to distort or mutate the image. - See more;

Recommended to read the whole interview here.

Rhys Coren is also the co-founder of one of my favorite online galleries, bubblebyte.org

SPINK, 2011

ni, 2012

8991A, 2012

8991A at Seventeen Gallery

LXXXVIII, 2012

LXXXVIII at Seventeen Gallery

biancazzurri, 2012