Simply stated, “carving bones” may sound like a morbid activity. Yet, there’s both an elegance and hypnotic nature to the work of Jason Borders, an artist who creates intricate patterns and designs on animal skulls by hand. Borders was last featured on HiFructose.com here, and he appeared in Hi-Fructose Vol 40. The artist currently has a solo show at Screaming Sky in Portland, titled “The Art of Jason Borders.” The show kicked off on July 28 and runs through Aug. 22.
Many people think we developed a computer-based technique to produce the colored Xerox look. It was, in fact, created entirely by hand.
Each frame of her in the sequence was created using the following process:
The frame was printed on an Epson inkjet printer, in black and white, onto heavy weight matte paper
Using a ballpoint pen, we drew the black outline around Juno onto the print
The frame was Xeroxed
Then it was Xeroxed again for that extra degraded look
The double-Xeroxed frame was then hand-colored with color pencils
Finally, the colored image was cut out with scissors
Needless to say, this part took quite a while, but was an absolute joy to do. We held a couple of “cutting parties” where we invited a bunch of friends over to help us get through a bunch of frames.
Jenny and I did much of this part in our apartment. The floor was covered with paper debris. Our small dining room became the shot board wall which helped us track the progress of each shot. Netflix kept us company during the long hours.
The notebooks themselves were created by designers Clive Piercy and John Sabel, who filled the pages with large blocks of text, broken only by the occasional macabre photograph or ambiguous artifact taped in place.
[The team] photographed books and shadows and mapped it all out with stills to get an idea of what it would look like when you see through the pages and you see the shadows behind the page and the backlight.
The typography itself was hand-etched into black-surface scratchboard and manipulated during the film transfer process to further smear and jitter it. This transfer was then cut up and reassembled during post production to add a final layer of temporal distress.
“[Fincher] knew that he wanted it to be drawn by hand, because it was from the mind of the killer, and I was taking that further, wanting it to be like the killer did the film opticals himself.”
Even though digital editing and compositing were already commonplace in Hollywood and especially in post-production, Cooper and his team opted to assemble the majority of the sequence by hand, giving it an analog warmth and randomness which may have otherwise been cheapened by digital effects.