…and extinguished the Fire, that burnt the Stick, that hit the Dog, that bit the Cat, that ate the Goat which my father bought for two zuzim. Chad Gadya
Most natural movements – runs, walks, gallops – follow wave patterns. But it’s very difficult for me to analyze such movements so I can recreate them in animation.
The legs are swinging back and forth as well as waving.
I struggle to animate even a simple wave; it does not come intuitively to me. I found a way to remember with the letters C-Z-D-S. The curves of those letters resemble the 4 keyframes of a wave loop. If I can remember those 4 keyframes, I can tween from one to another by hand or in this case using Flash’s shape tweening.
Approximately 32″ square. Cotton fabric, cotton/bamboo batting, rayon thread. Machine embroidery, quilting, trapplique.
Each block of the quilt is a frame in the animated cycle above. I created the animation, exported as vector images which Theo Gray stitchcoded in Mathematica. Each block was stitched in 2 parts on our embroidery machine: first the Ziz (gryphon) figure, then the background. I cut out and applied the former to the latter and the machine “trappliqued” it down and did the echo pattern. Finally I zigzag stitched the blocks together, topstitched homemade bias tape over the seams, and bound it.
Today’s embroidermation features a rotoscoped dance outtake performed by Reena Shah about 7 years ago for Sita Sings the Blues. Theo coded the stitches and the animated sin wave loop background. This is designed for larger quilts, but this version is tiny as it was stitched on our embroidery machine.
I sewed the 16 panels together like so:
The source animation (a vector file sequence) was adapted from my short segment for the upcoming feature film “The Prophet.” That will definitely not be rendered in Embroidermation, but the Tree of Life is such a classic, traditional embroidery motif it was just crying out to be used in this test.
In addition to stitchcoding, Theo hooped and ran the machine on all 96 frames, and then he made them into a flipbook.
Because he’s crazy, that’s why. He even crafted a copper rig to cut out the frames precisely, and register them for photography (he photographed them too).