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My reference footage was played out to the small monitor under the glass.Ī DSLR camera was suspended over top, controlled by a computer running the stop motion software Dragonframe. I had several panes and strips of thin glass cut to size, which could be layered over top of the monitor, with spacers in-between so wet paint wouldn’t smear. My very supportive father, Dan Strom, loaned me a small portable monitor and built the wooden frame I designed to surround it. And I would need to work on multiple layers to keep the detailed backgrounds from needing to be constantly repainted. To help with both the motion and the mechanical detail I wanted to be able to “rotoscope”, or trace over reference images, frame by frame. I wanted to capture the texture of brushstrokes and fingerprints and the glowing quality of light through paint, but have more control over the image detail.
Have a look at her film The Street for a beautiful example. The paint on the glass was manipulated frame by frame, creating an effect where the paint is constantly moving and smearing around the screen. When she was creating some her major works in the 70’s, the practice was to shoot single exposures on a film camera, shooting down onto a pane of diffused glass with a light under it. My paint-on-glass muse is Caroline Leaf, whose expressive, lyrical animations for the NFB I find mesmerizing.
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