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Aziola Cry, “And Cowards” April 2, 2021

Here’s the official video featuring my animation with the band performance.

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Finger Cuts April 1, 2021

Parts for the Corner Man’s creepy grasping hands.

Grasping Hand Parts

Grasping Hand Parts

Each segment of finger and hand part adds a point of articulation to the 2-D animation puppet.

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Deer Parts for Aziola Cry

Working on a video for the new Aziola Cry album. We begin with a slow pan through a forest. A majestic stag is interrupted by our intruding gaze…

Deer in progress

Deer animation puppet in progress

The disjointed in-progress drawings will combine to create an articulated 2 dimensional puppet for animation.

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LaurelLoops November 30, 2016

Pink Blocks

LaurlLoops Pink Blocks

Starting a new project in collaboration with artist Laurel Farrin.  I admire her works for many reasons.  In particular, her static images contain a certain potential energy.  I am attempting to digitally deconstruct her paintings .  Once deconstructed, the former fixed elements of the painting become a plasticized material for animation studies.  The material and shape of the “unfixed” images inform their animated behavior.  I’m also interested in experimenting with the perceived materiality of the shape.  In this first example a green object expands like a lofty balloon but falls like a cement brick. These contrasts in material weight will be interesting to play with.

The second example in the video below deconstructs a painting of a whimsical block tower.  The individual blocks were mapped with a surface shader in Maya to 3D models approximating their 2D shape.  Using Maya’s gravity and rigid active body attributes, the former fixed elements from the painting submit to gravity and tumble away from the picture plane.

Laurelloops1 from Jeremy Bessoff on Vimeo.

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Truchet Tiling October 25, 2016

Truchet 1 from Jeremy Bessoff on Vimeo.

Truchet 1 (1 Min., Silent, Color, 1:1 embedded in a 16:9 frame, 2016)

A structuralist film study of the infinite design possibilities provided by the truchet tile. Using a simple truchet tile as a pattern for tessellation, Truchet 1 generates a thrilling, infinitely random series of patterns. Hand-drawn shapes reveal the material of both the truchet’s medium and process. Grain of the paper and imperfect pencil fills add to the film’s deep textural aesthetic. The frenetic pace of Truchet 1 is derived from the editing alone. The tiles themselves are static, in both position and time. The illusion of animation is created through dynamic contrasts between the opposing orientation of individual tiles. The inherent plasticity of digital video allows for fine, frame accurate swapping of tiles. A flickering graphic conflict occurs onscreen when tiles are randomly juxtaposed. Positive and negative space collide, swap places and seem to swirl and pulse across the viewer’s eyes, generating the optical illusion of animation.

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