Kunstenaar - Art Office

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Good Enough (short film) - For my graduation film, Good Enough, I worked with two other classmates on a 2D animated short film exploring the fear of failure and the concept of 'being good enough.' Over the course of production, I learned to embrace failure by incorporating vulnerable techniques. I want to continue pursuing that approach, allowing mistakes into my work where they make the work more unique — making space for happy accidents and letting them be part of the workflow. My role in the project was that of the animation director and co producer. ''Good Enough'' is a 2D animated mixed media short film, made using etching, riso and lithography printing. Director: Jamie Machul Creative director: Noémie Kohl Animation director: Noa Mac Donald

Good Enough (etching running cycle) - The three main techniques used in Good Enough are riso printing, lithography, and etching. Each technique represents a different aspect of how out of control the characters feel. Riso printing is the most controlled since it's a pretty direct translation from digital to analog. Lithography is the most unpredictable because of its complex chemical process, while etching falls somewhere in between. That’s why we used it to portray the internal world of the main characters—the dark, gritty line art created a great contrast with the colorful riso prints that represented the real world

Good Enough (Litography) - These are prints of character animations made with lithography. I had to figure out how to translate the frames from a digital space, into the witchcraft like process that is lithography, and back again into a digital space. A big thing I learned is that rough animations are really all you need to do, ‘’the clean up’’ process happens when translating the frames onto the stones. The printing process essentially becomes ‘’the mess up’’ process. So no need for clean digital line art! What's important to understand about any type of printmaking is that a lot of things can go wrong in a process filled with intricate steps. The best way to avoid mistakes is to take your time with each step and carefully note what you did. That way, if something doesn’t work out, you can adjust your approach next time.

Textile Translations, a Labour of Love (short film) - In autumn 2024 I was one of ten lucky participants of the advanced textile program at the Textiletime museum in Tilburg. Because my background is in animation, my focus during this program was to research how to translate these pixel based blueprints into physical objects. Think of punch cards for knitting machines or traditional knitting patterns, it's all pixels, it's all code. My main questions were what is lost and what is gained in the process?

Textile Translations, a Labour of Love (falling apart) - For this work, I combined the old school computer graphic-inspired bindings from the previous post with a fluid character animation of a person literally falling apart at the seams. This way, the subject is even more interwoven with the medium.

Textile Translations, a Labour of Love (water dance) - While researching textile animation I concluded that in a perfect world you could work with these giant frames which gives more room for playing with texture but if you want to work economically and even more important eco friendly smallest frames with simple designs are better. This is a character animation done on the circular knitting machine focusing on silhouettes, so that the frames could be smaller, yet still filled with detailed bindings.

Pixel Chix (concept art) - Concept art from my short film Pixel Chix, which is based on the iconic pixel girl featured in the interactive electronic toy game "Pixel Chix." My inspiration for this project came from my exploration of textile art, aiming to fuse this medium with animation. Much of the digital preparation for textile art is executed in pixel art form, whether for knitting patterns, cross-stitching, or pixel-shaped graphs, which commonly serve as the foundation. The project aims to intertwine these themes, exploring the social rules and gender roles embedded in modern visual culture, particularly within the gaming industry, as well as taking a critical look at what is considered part of the fine art canon and what isn’t.

Blue Nights - I plan to create an animated documentary about the importance of queer nightlife in the Netherlands called ‘’Blue nights’’. The project aims to connect the characteristics of cyanotype animation with themes of nature and the tranquility that queer people feel when dancing in a safe environment surrounded by their community. With the film, I want to connect different cultures and eras and show how dancing as a ritual has been present since time immemorial, before sexuality and gender labels existed. This film is intended as a call to action, to convince city planners in the Netherlands that permits for queer spaces like these are important and necessary The documentary will consist of a compilation of interview audio, accompanied by a series of animation scenes depicting moments from a night in the queer scene. The film will be completely printed using cyanotype, a photographic printing technique from the 19th century that uses UV radiation.The following page contains style experiments, to test the workflow of combining animation, film and cyanotype prints.