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Press - COMPAGNIE DERNIERE MINUTE / PIERRE RIGAL. Erection - COMPAGNIE DERNIÈRE MINUTE PIERRE RIGAL / AURÉLIEN BORY. Light drawing processing et wii. Incredible New Technique of ‘Video Light Painting’ Raises The Light Painting Bar…Again. Well, the light painting bar has been raised again.

Incredible New Technique of ‘Video Light Painting’ Raises The Light Painting Bar…Again

Sweatshoppe, a European creative collaboration, recently created this video showing off their new technique of video light painting. While that may sound a little strange at first, it’s actually a really, really neat technique that they pioneered on their own. Using custom-made software and a little ingenuity, Sweatshoppe is able to not only paint with light, but they’re able to bring those paintings to life and add a never before seen aspect to light painting. Sweatshoppe’s Vimeo page goes into a little more detail about the technique: “Video painting is a technology the duo developed that allows them to create the illusion that they are painting videos onto walls with electronic paint rollers they built. While I appreciate that they share how they did it, I would have loved for Sweatshoppe to keep the technique a mystery, and then see if people could figure it out on their own. Related The Wednesday Rundown 9.7.11 In "Lighting"

Rough draft sketches turned into actual furniture by Daigo Fukawa. All images courtesy daigo fukawa I’ve been going through a lot of student work this week (see it all here) and one of my favorites is this clever set of furniture that looks like rough sketches suddenly came to life. It’s enough to make you do a double-take, or to assume they’re just renderings. The collection, appropriately titled “rough sketch products” was created by art student Daigo Fukawa for his 2013 senior thesis exhibition at Tokyo University of the Arts. I’m not sure how comfortable these pieces are, but in terms of bringing ideas to life (quite literally) Daigo Fukawa takes the cake. Related posts.

File:AGOModra Leonids98.jpg. CAMERA OBSCURA. Immaterials: Light painting WiFi. Quand la combinaison de la danse et de la lumière créé la magie pure. Teaser- LA BONNE IMPRESSION. Violin Light Paintings, 1952. Violinist Jascha Heifetz playing in Gjon Mili’s darkened studio as light attached to his bow traces the bow movement.

Violin Light Paintings, 1952

It’s About Time: Classic Stroboscopic Photos. Ask 20 random people, “What is the nature of time?” And chances are pretty good that you’ll get 20 different answers born of a thousand different factors, from a respondent’s cultural background to the mood he or she happens to be in when asked the question. Time is an arrow, says one. Time is a circle, suggests another. Time is relative. Time is an illusion. But no matter how assured or unhesitating their answers might be, most people would be hard-pressed to offer a single, definitive method for illustrating time. Fully aware that the true nature of time remains an unfathomable mystery, LIFE.com offers a selection of marvelous photographs, stroboscopic and otherwise, by the great Gjon Mili.

Here are technically brilliant pictures that fiddle with moments, junctures, sequences, and in the process offer a playful commentary on the slippery relationship between mere mortals and the temporal — perhaps even the eternal. Behind the Picture: Picasso ‘Draws’ With Light. When LIFE magazine’s Gjon Mili, a technical prodigy and lighting innovator, visited Pablo Picasso in the South of France in 1949, it was clear that the meeting of these two artists and craftsmen was bound to result in something extraordinary.

Behind the Picture: Picasso ‘Draws’ With Light

Mili showed Picasso some of his photographs of ice skaters with tiny lights affixed to their skates, jumping in the dark — and the Spanish genius’s ever-stirring mind began to race. “Picasso” LIFE magazine reported at the time, “gave Mili 15 minutes to try one experiment. He was so fascinated by the result that he posed for five sessions, projecting 30 drawings of centaurs, bulls, Greek profiles and his signature. Mili took his photographs in a darkened room, using two cameras, one for side view, another for front view. By leaving the shutters open, he caught the light streaks swirling through space.”