Archive for the ‘ Practitioner ’ Category

052: Choosing materials

As I was thinking about applying ‘dynamic surface’ to my final show on the previous post, I have to do a research on materials and what suits the best with projection. As I can’t use a pure glass because projection would go through it and it wouldn’t reflect anything back. I have to choose something which is be able to reflect back, and yet still see through.

I found this test video on projection test on glossy paper and acetate. It’s very useful and I’m gonna test it myself soon.

As the practitioner said in his blog:

During last days, at Laboratori Ligabue, while testing frontal and retro-projection on a plexiglass surface, me and my teammates have found many interesting things:

  1. You can’t get a good projection on pure glass because its low reflecting coefficient and high refractive index just make the incoming light beams deviate and not coming back. So you must use some kind of translucent layer to fix an image on the surface, that’s why we tested it on glossy paper and on vynil acetate to see where we had the best result;
  2. Glossy paper is good, has slightly more brightness and it’s far more available and economic than acetate;
  3. Glossy paper gives a frosty-glass look, and its a bit less bright than glossy paper, but it’s far more resistant.



045: Tools and Projection Concept

I finally came across a tool to manipulate the images and screen for final show. The tool to be used in this project is inspired by Karlklomp website. He provides this video mixer which I think it’s quite interesting and can be used to manipulate my font layouts before projection.

As it is said in Karlklomp:

Dirt & Cheap Non-Sync Video Mixer. Just one potentiometer and some connectors and you have your self a video mixer. Well, not really sync but its mixing, haha. Simple and dirty. If you leave the knob in the middle the signal it losses sync on the output. Now, you could change the switches into push buttons and have yourself a simpler switcher. It isn’t gritch free but it doens’t need any power or parts.

I made two switches onit so you can change input 1 and 2 to the other side of the knob. Its also there to have the option for normal image. If you leave the two signals on the pot it will be slidly visual as a vertical rolling image. For this you need a 1 k ohm potentiometer, 3 RCA connectors, 2 switches (SPDT) and a enclosure. Connect the inputs to both switches, one input to each switch. Connect the output of the switches to the side pins of the pot and the middle is your video out.


Example result from the mixer

This technique is quite easy to experiment and tools are not expensive and not hard to find. I guess I can find them in Maplin. Thanks to JB for helping me out 🙂

Anyway, I did a diagram to show how it work with my layout. First I need to do font and screen layout then separate it into single still image, and burn onto DVD. They will be played on dvd players, through the mixers before projected on screen. These mixers will produce imperfect and glitch images. This idea is kinda playing with input/output in technology.

An outcome image, which is imperfect (corrupted/breakdown/glitch..depend on how mixer does it) will be projected in the middle screen, between two prints. To show the contrast in digital media and print media.

Each sentence will be spread out on 3 layouts, 2 are in prints and 1 in the middle is in digital (projection). Now I have to think about how big each one is going to be and how many sentences there are.

042: Jenny Holzer Part 2

I was talking about Jenny Holzer before but didn’t go further, sorry about that. Jenny Holzer experiments with projections and surfaces. She projected her work on different surfaces such as buildings, water, interior objects. She creates a new environment in reading experience. As I did my research and wrote in my research paper:

Jenny Holzer, an artist who came with the idea of leaving a lasting impression using types and projection on buildings. By using a short, powerful sentences, her writing has become we known, for example: ABUSE OF POWER COMES AS NO SURPRISE or MONEY CREATES TASTE. Her work does not only convey the meaning by types but it is also considered to transform into images. But this idea could not be clarified because it depends on individual perception.

In addition, Holzer has experimented with other surfaces such as mountainsides and water. With the text scrolls, from the bottom to the top of the projection site. ‘Depending on the background, the text can be broken into word fragments that defy any normal reading process’ (Dinkla 2006 p.25). For example, when she projected her work on the building, the projected text molds itself in the architecture forms, clinging to the round columns, while remaining intact and legible. Holzer’s texts consist of statements, usually political or maral nature, that appeal directly to emotion. The projection of her texts on the rough and interrupted surfaces suggests a questioning of whether it is possible to convey messages using words when they are not in perfect structure. However these texts are presented in an imperfect way but they actually interact to the viewers by forcing them to try to collect texts as complete sentences. ‘Holzer is not interested in deconstructing the words, but in making the montage into something that can be experienced in its temporal dimension during the act of reading’ (Dinkla 2006 p.27). Her provoked texts interact with the surface and their surrounds, which create a narrative and emotion through visual projection. ‘Poet Henri Cole aptly pinpoints how Holzer’s language-based work operates to offer “the experience of reading, where self-forgetfulness brings about recognition of the self” (Smith 2008 p.27).

Furthermore, the idea of ‘bathing in the light of language’ is experienced in indoor projections. It is only about the audience readings of text but also audiences get to absorb text, focusing word by word, line by line, to analise images and meanings. Her interest between visual and language began when she was a painter. ‘As Holzer explains “I came to language because I wanted to be explicit about things, but didn’t want to be social realist painter. I had been an abstract painter and that was the painting that I loved, and that I could do. It’s not that I thought that one was better than the other, but for some reason I couldn’t become a figurative painter. I wanted to be explicit about things, and it became clear that only other way for me to do it was to use language. People can understand you when you say or write something” (Simon 2008 p.21).


Dinkla, S. (2006), Jenny Holzer: I Can’t Tell You, Ostfildern: Hatje Cantz Verlag

Keller, S., Smith, E. (2008), Jenny Holzer: Protect Protect, Ostfildern: Hatje Cantz Verlag

Here are some images of her work:







039: Martijn Oostra

“There are things that we usually do not see, do not look at. Sometimes you need someone to show you the beauty of these ‘ugly’ everyday things.” – Martijn Oostra

I found this artist and his work from Graphic Design for The 21th Century book and he has explored with images and glitch, which I think it’s very interesting and useful for my project in term of research. Here is an example of his work, Frozen Digital Hallucinations.

In addition, you can visit his website here.

032: Glitch Study: Richie Tovell

using Midi to create glitch in footage.


031: Glitch Study: VADE

I’ve been researching on how to produce ‘glitch’ effects using either a controller or making in AE. So far I got some tips and techniques to do it and I should start give it a try soon. I found a blog call Vade, which is a pretty cool blog to explore about producing glitch with different programs and technology.

Here are some examples:

Texture Glitch

you can also see more glitch work example from Vade hrough his blog, which I found a lot of inspiring work and techniques to work with.

This example is using a plug-in with the screen saver on Mac. To read more about it, please click here

Some more experiment work from Vade:

Glitch File Reader

FBO Glitch source

A Brief Tour of Quartz Composer memory…

Core Video OpenGL Glitch

030: Update and Biennale de Lyon

I just got back in London for 2 days from my holiday in France. After spending 2 days in Paris and 4 days in Lyon, I’d been quite relax and clearing my mind from everything else. Paris was cool, I had so much fun there even it’s such a busy city and strangely enough it made me miss London more, which was something I couldn’t explain. Lyon was something different. I like the small city with the view of the old town and mountains. It is a very pretty city to live and not as busy as Paris, and it has everything you need! So I did a lot of sightseeing, museums, and exhibitions (and of course shopping!). Thanks to Mr.JB for guiding and taking me around. Luckily we were there just in time for Biennale de Lyon. It was a very very good exhibition on contemporary art and design which takes places in four areas. We went to just two and there were very cool.

There was one particular work I was interested the most because it’s about typography and environment. This work was done by Tsang Kinwah, The Second Seal – Every Being That Opposes Progress Shall Be Food For You. Using projectors to create typographic installation is something I’d like to explore further more and his project inspires me.

p.s. for more photos of my holiday, visit my personal blog here