{"id":2108,"date":"2014-06-01T03:03:51","date_gmt":"2014-06-01T10:03:51","guid":{"rendered":"http:\/\/dev.designsimplified.net\/?p=2108"},"modified":"2016-02-15T11:58:15","modified_gmt":"2016-02-15T17:58:15","slug":"from-the-glitch-mob-to-data-privacy","status":"publish","type":"post","link":"http:\/\/blog.mediafire.com\/2014\/06\/from-the-glitch-mob-to-data-privacy\/","title":{"rendered":"From the Glitch Mob, to Data Privacy"},"content":{"rendered":"

Mike Winklemann aka Beeple is one of the most prolific and influential animators of this generation. Over the last five years, Beeple has created original animations and videos for some of the biggest names in electronic music, including deadmau5, Ti\u00ebsto, Girl Talk, The Glitch Mob, Amon Tobin and Wolfgang Gartner. His original works have been featured in Wired.com<\/a>, createdigitalmotion<\/a>, and Pitchfork.com<\/a>, and his animations have screened at onedotzero, Siggraph and Optronica,<\/p>\n

The 33 year old self-taught artist offers all of his source files for free through Creative Commons to anyone who would like to use them, and his most recent visual collection “\u00fcbersketch” is available to download (http:\/\/www.beeple-crap.com\/vjclips.php<\/a>) from his site using MediaFire.<\/p>\n

We recently had the opportunity to sit down with Beeple to chat about his work.<\/p>\n

What inspired you to get into animation? How has your approach to visual design changed over the years?<\/b><\/em><\/span><\/p>\n

“I used to shoot more live action stuff but I found myself getting more and more frustrated about all of the things I couldn\u2019t control when shooting live (actors, weather, crappy equipment, etc.).\u00a0 Slowly I began to realize that if I just did everything on the computer, I could have pretty much total control over everything.\u00a0 So I guess being a bit of a control freak is what mainly led me to focus on more animation and graphics design type work.<\/p>\n

As for my approach to visual design, I\u2019m not sure how much that has changed over the years.\u00a0 While the tools change and software become more advanced, your workflow will inevitably change but I still feel like I approach projects the same way.\u00a0 I usually have a very vague, fuzzy idea what I want to do and sort of just jump in and start experimenting and see where it goes.\u00a0 Then after an arbitrary amount of time I get tired of working on it and call it done.”<\/p>\n

How did you get involved in the electronic music scene?<\/b><\/em><\/p>\n

“I\u2019ve always been really drawn to electronic music and the very precise syncing of audio and video has been a huge component of my work for quite awhile.\u00a0\u00a0I think music brings so much energy to visual pieces and is something that is really overlooked by a lot motion graphic artists.<\/p>\n

I got into making VJ clips really just by chance as I was making short, abstract pieces of video and then sort of realized that they might be useful for VJ\u2019s almost as an afterthought.\u00a0 Since I started putting this work out it\u2019s been really awesome to see it used all over the world and by some of my favorite artists.”<\/p>\n