Firstly I need to address some problems and mistake I believe I have made throughout the project. Firstly and maybe most… however I actually registered the address! Prone to mistake like these due to my dyslexia, I even double checked it before registering and yet still managed to spell it wrong somehow. Next and almost definitely worse but a similar mistake is that on my page of the catalogue I wrote that I expected to use around 30000 images in the making of the video… my intension were of an estimate of 3000. However I actually I montage nearing 8000 still images.

On to the video itself. In the creation of the video I had a chance to experiment further with my inks and water dispersion series carried out in previous work. However throughout this body of work I pushed my experimenting ever further. Using a varying array of set ups and materials from U.V inks to water temperatures, even trying to shoot from in the water itself I feel I may have reach a point where I am happy with that aspect of the work. The other photography of the natural elements needed, were given a little less care to compositions and aesthetics qualities as I knew they were going to be cut up, edited and montaged into a completely different image. Although after a lot of patients, care and frustration I am pleased with how the time-lapses of the plants in particular are developing. The technique is really coming along.

Editing is another aspect to the work to which I feel I need to talk about. The editing of the photographs themselves was of a reasonable standard. The montaging technique is something I have become accustom to applying in my digital based work.  However in attempts to colour match each natural element of the work to corresponding ink may have oversaturated colours in certain frames. In the editing of the video, as I was using a completely new program and style that I have never tried before, I feel torn. Part of me is pleased as using near 8000 images, over 26 frame layers, for 25 frames per second, placing each individual 0.1 second long still frame in its place is no small task. In al the editing of the video alone took over 140 hours. I was also very pleased with the editing of the music, cutting the track from 9.32 to a modest 2.37 without loosing any of the fractal elements or loosing the so important and irregular Fibonacci inspired rhythms.

Relatively please with the exhibition itself the issued I feel I could have improved on were firstly the quality of the video on the screen I used was I bit off. Having a Mac at home where all the work was designed, edited and created I thought if it ran perfectly on my Mac then it would run the same of the Mac provided. I was wrong, the resolution was off and it led to small lines across the screen in parts of the video. I now believe that my mac can run a higher definition and this will be addressed before London. Furthermore I feel I lack contribution in the fund raising aspect to the exhibition due to genuinely not having the free time due to work commitments and the 140 hours on creating just the video, never mind shooting and editing the photographs to.  Hopefully I have made up a little for that by volunteering to distribute flyers on two occasions. Also as I had very little to set up in the preparation to the exhibition so was on hand to paint walls and assist people with their work when I was available.  Unfortunately I wasn’t able to make the opening of the exhibition, again due to work commitments, however I was able to be present for the last few hours.

A last aspect I would like to discuss is the Blog. This was a refreshing change from doing a standard visual diary and has helped me in adding more relevant media into my work (videos and music) also I feel happier about the presentation as in previous bodies of work im aware of how I have always lost marks on my presentation and writings.  It has given me more confidence in an area I have little, maybe because of my dyslexia. I feel that I have made the ‘posts’ shorter than I would have an entry in a visual diary, partly because in the blogs I’ve research, many of the most popular have short but to the point entries. Secondly, because I am a more visual person and want the blog to represent myself as its there for everyone to see. The only problems i have encountered with displaying my visual diary this way is the uploading of my contact sheets to the blog. The media upload at word-press couldn’t handle the sheer amount of images and so adding images individually was so time consuming. also if i had the time to upload all the images this way, i wouldn’t of been able to anyway as there is a space limit in which it would well exceed. However i did find a almost adequate solution. Although this is the reason there is a lack of media nearing the end of the BLog. I feel the Blog was a success, this is mirrored by the traffic it has had especially since the exhibition. Even more so as no promotion has happened other than the exhibition catalogue and artist specific postcards.

Shown in this screenshot


A Brief Concept.

The concept behind this work it to create a 3-4 minutes stop motion video relating to my interest in the natural fractals throughout world, its process and our relationship to them. To depict my concept I will have a wide range of images, from the dispersion of natural dyes in water to fractals from the natural world. Every image will blend and flow with the last.  Also each image will be one of a series of its own, so when hopefully leaving a seamless blend between all images. As the work is going to be a video I wish to play music to accompany and accentuate the work, this should mean that after editing the final video should be around 3.30 / 4 minutes long.

Displaying Work

I would like to see how the video would look projected on a large scale, as this would be a new method of presenting for me. However as there is accompanying music and this is a group exhibition projecting may not be plausible due to needing a set of speakers for the music. I could always present similarly to before on a screen of some kind and a set of headphones, however finding a more suitable screen than previous exhibitions may also not be plausible.

There is one other method of presenting I am currently researching, but would immediately be a drain on resources. Using the phenomenon of video feedback If you link a camera to a TV and then direct the camera at the TV, you get an infinite regression of images. However, you can use the same feedback phenomenon with multiple displays to make a natural forming fractal. By displaying multiple smaller copies of what the camera sees, photographing that cluster of copies, and then repeating the process, you essentially create the self-similar structure seen in fractals. By moving and rotating the camera and projectors, you can create a very wide variety of fractal images. 
This method of presenting would be perfect in theory, however the use of multiple projectors may not be possible, along with not being able to try it out before hand firstly to see if I understand and can get it working. Secondly, to see the aesthetics when projected in this way and if it would enhance and contribute to the work.

Here is a video of the final method of presenting working.

UPDATE: Unable to obtain the relevant equipment i will displaying a HD version of the video upon a Mac screen with headphones. This will allow the viewer to be engulfed fully by the visuals and accompanying soundtrack completely.

After Roughly planning and designing the content for the video I now have a better idea of what type of techniques I will need to carry out to achieve the desired affect. After a little research these links and video bare similarities to the techniques I will be using myself.

Splash Photography Technique



 DIY Studio Silhouettes –

This Video I’ve added with the scene including the human fractal elements, the circulatory, respiratory and nervous systems.  With the initial idea of using an artist’s manikin this set would prove informative. However it is a little long.



Time lapse photography: how to shoot stunning sequences without any

A lot of the photography I will be carrying out will be in the form of time-lapse photography. Having only a little experience around this area of photography, this article has informed me further giving me a greater understanding of the technique.


Photoshop Montaging Techniques –

 A significant amount of montaging will be carried out using Photoshop CS5. This article explains, a lot better than I could many of the tools and techniques that I use in the montaging techniques I often adopt in my work.  I have chose this article because it uses paint splatters in the tutorial, which is a content with properties very close to my own.


 Abstract photo ideas: get creative with oil and water –

As I have already create works including the photograph of ink dispersion in water, I am eager to experiment, taking the idea further. Along with shooting multiple series using different lighting setups, temperatures of water, marbling and surface inks, U.V inks, using an O.H.P, different textures are also an path I would like to explore further. This article has given me a good Starting point.


Here are some scans of rough lighting set ups I have sketched. Apologies for the poor quality, they have lifted from my tiny note pad I carry round for ideas. I Almost didn’t include them they are of such poor quality.

Now I’ve created a shortlist of the content I could possibly include within the video I’ve sketched out a few ‘scene’ designs with ideas for possible movement within each scene. I am by no means talented with a pencil so please ignore the crude sketches. The red arrows represent the movement in the frame and the numbers correspond with its own content.

UPDATE: I have yet to upload the images of the designs as i am struggling for media space. They will however be uploaded after i purchase more Media storage space by the end of the day today 29/05/2013

Scene 1


  1. A representation of planet earth using inks – Marbling or surface inks would be best. Shot from above using green, blue and white inks.  Maybe use an O.H.P to project the image upon a screen creating a circular image for me! The motion as indicated by the red arrow is for the ‘earth’ to rotate slowly, with a slow enlargement until filling the screen.
  2. As the earth will start small, it will need to be set upon a ‘space-like’ background. This item is a filter I know of in Photoshop, lens flare. It will add to the desired aesthetic.
  3. Will in fact be a black background with white spots that will represent stars. I know from previous shooting of ink in water, when you fill a large glass container with water, tiny bubble form on the glass. When using a black background in the studio and forgetting to wipe the glass of the bubbles before splashing the inks into the water that it really ruins your photographs. But before the ink goes in it resembles a starry night sky.

Scene 2

  1. Clouds – Due to their fractal nature using a photograph of a cloud would have a strange visual impact being cut from its background and placed upon the bold colours of the inks. With that in mind I may hand draw a template for the cloud, being sure to include spirals: a key symbol in the video. The whites of the cloud will be its own sequence of white ink dispersing in front of a black background- may give a stormy effect
  2. Again I don’t think I have A. the technology needed B. the snowy climate to photograph snowflakes, so these will be hand drawn stencils.
  3. Will be a silhouette of a mountain range. Taken from a photograph I fear that I may have to make I very think to form a barrier between the sky and ground (5 and 6) After a certain amount of time of the snow. ‘snow’ will come down from the mountains. Maybe use white paint dripping down a black piece of card?
  4. Using the same hand drawn snowflake’s as before in 2, These one will instead be black and will rotate and fade away as the white paint runs down… furthering the snow effect.
  5. Blue ink sequence to represent sky.
  6. Green ink sequence to represent grass/ground

Scene 3

  1. Starfish – one of my favorite fractals.  I have already been in contact with aquatics wale to arrange a photo shot with them, along with being in contact with Bristol zoo to visit their aquarium for a shoot. Hopefully I can get images of it upon the glass of its tank!
  2. Blue ink sequence representing sea
  3. Coral – Will definitely be able to shoot in the above-mentioned places. Didn’t have this in my shortlist but a brilliant fractal! Maybe have the coral move up and down slightly, to further animate, simulating the oceans current… could make the animation look bad though!

Scene 4

1-    Base image for a tree – Hopefully demonstrating fractal growth in tree, taken from a silhouette photograph of a tree, ill create a stenciled outline of a tree.  In sync with the music the tree will expand, but each expansion is the original tree silhouette repeated on a smaller and smaller scale.

2-    Withing the Stencil outline there will be a brown ink sequence representing tree bark.

3-    Representation of  the final tree.

4-    Ill fade in trees onto the tree

Scene 5

1-    Sequence of leaves falling, use a wide selection of leaves. Shot on a black background to make them stand out.

Scene 6

1-    Daisy of some kind or a sunflower – Sunflower could take to long to grow! Animate the growth up and flowing of plant, with it slightly spiraling if possible.

2-    Photograph sequence of butterfly’s – The plan is to as with the tree scene make a stencil outline from the images I take removing the butterfly natural colourings.

3-    The natural clourings will be replaced with a sequence of surface inks. The butterfly is to flap in, land on the flower, turn around and flap out.

Scene 7

1 – Bees – Have many sequences of bees scurrying in and out of frame. Image will be limited due to foreseen problems in  finding bees.

2 – ideally I will find a natural honeycomb patter I can photograph and use as a stencil, if not I will have to create one, one that doesn’t get all out of shape at one side like in my drawing!

3 – Sequence of surface inks to represent the honey… maybe if possible link the butterfly surface ink as a scene merger… Also there is a high possibility the bees may get lost against its background!

Scene 8

1-    Spider web – Photographed cut and montaged as the background layer.

2-    Bee – Link from the previous scene – Merger!! Fly’s in gets captured and dies

3-    Centre of the spider web – Mandelbrot set  – Tribute to the founder of fractal geometry. The entry and exit point of the spider. Have the Mandelbrot set zoom out – end of scene maybe end of video!

4-    Spider – Rotates in and out of the – Eats the capture bee

Scene 9

1-    Maybe most difficult scene – Animation of man, walking back and for banging against the walls in dismay of being trapped by classic geometry representation (6) use artist manikin or paper puppet? Within the man will be 3,4,5… they will alternate between each other in time with music.

2-    Ink sequence – Corresponding color alternation to 3,4,5.

3-    Circulatory system- Drawn or maybe a stock website –RED

4-    Nervous system and brain  – Drawn or stock website – GREEN

5-    Respiratory system – Drawn or stock website –BLUE

6-    Classical geometry representation – Bordered around the whole Frame, trapping the man… inspired by Piet Mondrian, a Famous Dutch Painter.

Scene 10

1-    Sequence of smoke against black background

2-    Sequences of high-speed photography capture bird flight – Archery place in Oxwich have a bird sanctuary and bird of prey place… Get in touch!

Scene 11

1-    Similarly to the previously used clouds photographing the sun and using that to montage wouldn’t look right, Another hand drawn spiral influenced stencil. The stencil will be layered over a yellow/orange ink sequence.

2-    Snail – Spiral shell will move from one side to another, similarly to the sun.

3-    Green ink sequence for ground

4-    Dandelion growing from the ground silhouette.

5-    Similar to the mountain range silhouette, but to form a line for the snail to follow.  Can be kept thin this time however.

Scene 12

  1. Another complex scene – Spiral sequence of ink – Shot in a sink maybe?
  2. A turtle in time lapse moving from the center of the spiral to the edge of frame.
  3. Ink/Paint foot prints from the center of the spiral to edge of frame. I wanted to use a fingerprint in the video but this is just as good.
  4. Chameleon Following branch growth from center of spiral to the edge of screen.
  5. Plant growth – To be repeated from the center of the spiral – Will try shooting using live vine on a light box, however from passed attempts I know this doesn’t give the completely desired effect. A friend of mine when I spoke to her about it suggested the use of after effect of flash so I might take a look at that, create an animation and from that create still to give the desired ‘Fractured’ aesthetic.

Scene 13

Peacock –another of my favorite fractals natural and animals. The peacock will walk into frame; turn to fact the viewer walk/zoom in. until it starts its zoom it will have its tail feathers down. At the start of the zoom, the feather will appear layer by layer fading in. when they are all present one feather will start to enlarge quicker than the rest and the peacock…. engulfing and fading them out. Shown in the second of the two sketches this feather will continue to expand.

1. Within the black spot of the tail feather will be globules of U.V inks and oils in water being rotate. Again maybe on the O.H.P for lighting and the circular affect.  This ink sequence is a representation of Galaxies, stars and space – Could be a good end – Links back to the beginning.

      Here is a shortlist of naturally occurring fractal content ideas for the video.

The Planet Earth



The Sun




Peacocks Feathers

Spider Webs

Birds Feathers

Bird Flocking Patterns

Trees – Growth – Bark – Rings in the Center




A Fly’s Wings


Cacti – Aloe Plant





The Eye



Star Fish

Shoaling Fish Patterns





Finger Prints


Maple Tree Seeds (Helicopter Seeds)

Respiratory System

Circulatory System

Nervous System

Dandelion Seeds.

Turtle Shells

Snails Shell

With the idea of not spoiling the Final exhibition piece, i feel continuing this blog privately and then uploading the post after the initial opening of the exhibition to be  the best method. The show will be opening on the 24th of May 2013 in the Dynevor Campus of the Swansea Metropolitan University. In the days following the private viewing, the remainder of the Blog shall be added as they will already be prepared. Further posts will contain detailed plans and sketches and screenshots of the design, construction and editing of the video.  Also included will be a comprehensive exploration of the relationship between fractals and music. Along with Contact sheets of all images used a presentation and exhibition proposal and finally and thorough personal evaluation of  the project as a whole will be present.

Thank-you for your patience… and i hope to see you there.

There are many example of fractals throughout the musical world.  But First, The Fibonacci sequence, a fractal set in its own right cant is seen throughout the structure of the natural world. These few examples show the diversity and beauty of this one simple equation. The Fibonacci sequence can also been seen in the composition of one of the worlds most famous painting, the Mona Lisa…. Which was painted by da Vinci. The Fibonacci Sequence is an equation in which the spiral shape found in nature can be seen. It shown Below.



Musical scales are based on Fibonacci numbers


The Fibonacci series appears in the foundation of aspects of art, beauty and life. Even music has a foundation in the series, as


There are 13 notes in the span of any note through its octave.

A scale is composed of 8 notes, of which the

5th and 3rd notes create the basic foundation of all chords, and are based on whole tone, which is 2 steps from the root tone, that is the 1st note of the scale.

Note also how the piano keyboard scale of C to C above of 13 keys has 8 white keys and 5 black keys, split into groups of 3 and 2. While some might “note” that there are only 12 “notes” in the scale, if you don’t have a root and octave, a start and an end, you have no means of calculating the gradations in between, so this 13th note as the octave is essential to computing the frequencies of the other notes.  The word “octave” comes from the Latin word for 8, referring to the eight whole tones of the complete musical scale, which in the key of C are C-D-E-F-G-A-B-C.


Musical compositions often reflect Fibonacci numbers and phi

Fibonacci and phi relationships are often found in the timing of musical compositions.  As an example, the climax of songs is often found at roughly the phi point (61.8%) of the song, as opposed to the middle or end of the song.  In a 32 bar song, this would occur in the 20th bar. Many composer such as Beethoven, Mozart and Bella Bartok have been linked to fractals within there compositions.


Musical instrument design is often based on phi, the golden ratio

Fibonacci and phi are used in the design of violins and even in the design of high quality speaker wire.


violin 3D3H 360

This Website goes into the great details of fractals in music, however its fairly complicated and hard for me with my limited musical experience. However I have included it as its very imformative!



Essentially not music based but this video of cymatics for me proves the link between sound and patterns perfectly. This video amazed me!


My Choice of Music

After Much deliberation and hours upon hours of listening to music ive research into music realting to fractals I have decided to have Tool’s Lateralus as my sound track

Firstly here are a few of the Tracks that were shortlisted for one reason or another.


What Phi (the golden ratio) Sounds Like – Micheal Blake


Bela Bartok – Music For Strings


Bence Peter – Fibonacci Piano piece

However this is my music of choice – With a very helpful video which explains all the reasons why for me!


Tool – Lateralus

Although this track is perfect it is however not to everyone’s tastes… after this troubling me for some time I’ve found a number of cover version which adhere to all of Fibonacci’s inspiration within the musical composition, whilst having a more popular appealing sound.


Rockabye Lullabies – Renditions of tool

Covered using only xylophones!


String Quartet Tribute to Tool

A Brilliant and moving cover by a string quartet!


UPDATE: I have chose the string quartet version, for me it has a much more atmospheric nature along with having more depth and layers. I will now edit the track from 9.32 in length to a more reasonable length using Audacity, ready to edit the image to.

Many artists have also observed fractals in the natural world transferring them into their own works. Yet another artist renowned across the world who incorporated fractals into his work was Salvador Dali. Primarily and predominantly within his painting the ‘visage of war’ (1940), this painting created during Dali’s small stay in California regards concepts of the Spanish Civil War . A the primary interest in this case comes from within the eye sockets and mouth of the face in the painting. There are similar smaller faces within the eye socket and mouth and again within the eye sockets and months of these faces. This suggests a pattern of self-similarity and infinite repetition again and the key characteristics of fractal geometry. Through this infinite pattern Dali seems to be mimicking the infinite pain and anguish of all. Descharnes echoes this in stating “Eyes filled with infinite death”(Descharnes, r, Dali, Harry Abrams, NY 1985) when referring to the unrelenting repetitive nature of the self similarity within Dali’s painting. AS you can see from the second set of images shown below, Dali’s painting mimics a circular form of the cantor set.



Fractals are complex geometric patterns that repeat themselves at every scale. Trees and ferns are fractal in nature. The branch from a tree or a frond from a fern is a miniature replica of the whole: not identical, but similar in nature. Man has always found fractals beautiful without realizing why. Why are clouds and mountains beautiful? Trees? Flowers? Snowflakes? I believe it is because of their fractal geometry. If you google “fractals found in nature”, you will see objects that I have photographed throughout my whole life. One natural fractal I had never photographed, however, were “Brownian Curves”, and although most people would say this series are simply photographs of smoke, the mathematics behind them are truly beautiful.

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After viewing Enrique’ series of smoke images, the complex and fractal inspired works led me to shoot more off my own smoke images with the intention of montaging them into my final video. the next gallery is a display of a small number of my smoke images. In the capture of these images i created a small studio environment, using lighting and background to achieve the best results. The smoke was created using incense  sticks. When photographing a small number of the smoke images, i places coloured acetate in front of the lighting set ups to create colour casts over the smoke.

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A second series of image by Enrique has caught my attention also. “Connected” is a series of 22 images that portray the intertwined nature of life. Gravity is an invisible glue that binds all the objects in the space-time continuum that we inhabit. If we could see that invisible glue, it might look like these images. Yet, gravity is not the only force that creates bonds between us. “Does the flap of a butterfly’s wings in Brazil set off a tornado in Texas?”

In the world of networking websites, such as Facebook, 6 degrees of separation is no longer a theoretical principle. The man next to you on a bus is not a complete stranger. Similarly, every vertex in a network of bubbles is connected to every other intersection. Some times the path is very apparent, but often it is not. Yet, the connections remain. And like people, every node is unique. But put together, a larger entity appears. this series of images leads my consistently back  to the thoughts of; In a universe where everything is connected, should we be surprised by coincidences?

The subject matter depicted in these images is no coincidence either: soap bubbles. The dual hydrophilic (‘water-loving’) and hydrophobic (‘water-hating’) nature of soap allows it to modify the surface behavior of the water in which it is dissolved, and thus create bubbles. But it also links substances that otherwise would not mix, like oil and water. In every day life we use this property to wash our hands clean. But life itself could not exist without the connections that these molecules make. The walls and membranes of plant and animal cells are covered in soap-like molecules that allow them to network with each other and interact with the world around them, and to create larger, multicellular organisms like the fruits and vegetables that form the backgrounds of every image in this series. In using these concepts and techniques, Enrique subtly, even if unintentionally relates his work to fractal geometry.

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Perhaps best known in the west for In the Hollow of a wave off the coast of Kanagawa (left), also called The great wave, from Thirty-Six Views of Mt. Fuji, in the 1830s and 40s the Japanese artist Hokusai made wonderful woodblock prints that present fractal aspects of nature with a sophistication rarely matched even today..  He did not have any mathematical training; he left no followers because his way of painting or drawing was too special to him.  But it was quite clear by looking at how Hokusai, the eye, which had been trained from the fractals, that Hokusai understood fractal structure.  And again, had this balance of big, small, and intermediate details, and you come close to these marvelous drawings, you find that he understood perfectly fractality.  But he never expressed it.


The Great Wave off Kanagawa

The Great Wave off Kanagawa 


 The below link is to a brilliant  publication regarding The Great Wave painting.

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