Kaleidoscope gif small9/16/2023 I printed it on printmaking papers, and handed them out to my peers to finish colouring by their own, and make their own image. Through a keyhole silhouette, participant can get a colouring code to finish the rest. For example, Colouring Worksheet for Peeping Tom is a classic colouring worksheet drawn with numerous objects from alchemist’s laboratory. However, if I start with digital tools, I would then print them on really bumpy paper. And recently I have been playing with making 3D images using my illustration as texture materials for them. If I start making small elements with coloured pencils, crayons, watercolour, etc, then I would keep going on with digital tools.Sometimes I tear them into really tiny particles and then make them wiggle in weird ways. Mostly I find it more exciting and easier to start my work with traditional colouring tool, since somehow it is more likely to get unplanned outcomes. I also try to avoid specific single tool or technique. The images are accidental, but beautiful.Ĭan you tell us about the process which goes into the making of your animations and illustrations? What tools and techniques do you use? Do you have a specific way that you work for each piece of work? This is also one of the most interesting part of the whole process. It maximises randomness and unexpectedness of the outcome, so that even I cannot predict how it it will be at the end. Somehow I am shifting my full power of creating the image to the uncertainty. These systematic rules which came from the external world, prevents me from planning the image from start to end. Souls of those images eventually arrive at the digitally-blissful state, where there is no border between drawings, 2D and 3D graphics. All I had to do was to hold the rituals with prepared offerings and altars. Flow of the graphic and illustrated images goes along with Jesa’s original rules. The three-dimensional space holding Jesa is made up illustrated patter which looks at real and beyond-real at the same time. Jesa for Jaded is a 12-page website following procedure of Korean traditional memorial service called Jesa. In order to prevent myself – the gardener – from getting bored with limited number of floras, I used external sound as a function to cross-fertilise those crazy botanic elements that I have drawn, and then animated. When building this chaotic and strange-looking world, I borrowed Dante’s depiction of hell to arrange my topographical and geological units.Ĭan you talk us through two recent pieces of work?Ĭrop Rotation is a graphic gardening work using the crop rotation idea as a cultivating method. Based on Dante’s construction manual of inferno and You’s crime records, 1640㎡ of infernal space was built. For example, Inferno is a digital infernal area based on archive of crime records of a real person surnamed You. Plenty of colours make unexpected colours and atmospheres, and plenty of small, animated shapes make a single huge space or organism. They play a wonderful role as a helper or collaborator during the latter half of image-making process. I combine those tiny units that I made, using certain functions. The most exciting part in the whole image-making process is right after making small elements or patterns. I think all the parts play an important role when filling the screen, and hope they are equally treated by all who sees my work. I don’t put single text, shape or colour as the only main character in the image. I don’t remember exactly when I started working in this way, but I always enjoyed making images based on combination of tons of randomly picked colours and shapes. How did you develop your style, and how long have you been working in this way? Seeing people going dizzy and confused or having difficulties to guess which tools had I created my works with is one of the most exciting part of creating the images.” We asked the young creative to unravel the stories behind the images. “Watching my work with millions vividly coloured and strangely shaped elements moving repetitively by themselves, someone said that it felt like looking through a kaleidoscope, and I liked the comment very much. “My works are based on mixed media, usually 2D and 3D graphics and illustrations,” Seunghyun explains. Seunghyun’s extravagantly detailed work comes in the form of part hand-drawn, part digitally-generated, always visually disruptive animations and gifs. The 23-year-old is currently studying at Hongik University, Seoul, Korea, where she is double majoring in Visual Communication Design and Art Studies, which she tells us “helps me widen my range of interests and get myself exposed to various interesting topics.” Contributing to that exposure was a recent trip to London, where Seunghyun studied graphic design at Central Saint Martins for two semesters as an exchange student. Seunghyun Lee gets her kicks from making people dizzy.
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