The intricate layered paper dioramas of Japanese artist Ayumi Shibata – some small enough to fit in the palm of the hand, others encased in jars or big enough to step inside. Sez she:
White paper expresses the yang, light, (and) the process to cut expresses the yin, shadow. When the sun shines upon an object, a shadow is born. Front and back, yin and yang, two side(s) of the same coin.
Now for yeh.
More of her work here.
A new animation by artist Jake Fried who builds up layers of ink and white-out liquid, changing and overlaying the same black and white drawing, scanning each new iteration into Photoshop (there are 1440 in total, filmed over seven months) then editing the whole sequence into a 60 second short, complete with music soundtrack.
Previously: Mind Frame
The incredible anamorphic assemblages of Thomas Deininger.
Shallow consumerism, reality and illusion, the environmental cost of the modern world and so forth.
Impressive laser-cut 3D wooden illustrations in layered plywood by Martin Tomsky, inspired by relics collected by his parents who, apparently, were Czech publishers and book smugglers.
More of his work here.
A new animation by artist Jake Fried who blends ink, gouache, white-out and coffee to build up his animations in layers, each one covering the previous one, invariably resulting in a completed canvas several inches thick.
Previously by Jake Fried: Head Space
A rather beautiful multilayered sequence by New York VFX studio Artjail and video artist Marco Brambilla, currently installed at the flagship Vera Wang store in Beverly Hills (do pop in if you’re passing) where it plays as an offset reel on eight wall-mounted panels.
Of the elaborate production process, Artjail sez:
The film was originally shot on Red Camera then effected in Autodesk Flame. We created transitions stitching multiple takes into one seamless clip and digitally hand painted degradation techniques to the footage. Out of the Flame the footage was scanned to 35mm motion picture film, where it was further degraded in multiple passes using bleach and other photo chemical processes. Those results were then loaded back into the flame where we used elements of the multiple degraded film prints to create more specific degradation. The silhouettes and other visual cues were also something handled in Flame.
Two incredible hand-drawn animations by Jake Fried, who uses one sheet of paper per animation, layering Tippex, paint, ink and coffee to create the fleeting details of changing scenes.
By the final frame, each sheet of paper is covered with a layer of mixed material, inches thick.