{"id":138767,"date":"2025-10-22T17:42:12","date_gmt":"2025-10-22T17:42:12","guid":{"rendered":"https:\/\/www.europesays.com\/ie\/138767\/"},"modified":"2025-10-22T17:42:12","modified_gmt":"2025-10-22T17:42:12","slug":"data-blooms-and-gardens-glitch-in-rob-farmers-generative-animations","status":"publish","type":"post","link":"https:\/\/www.europesays.com\/ie\/138767\/","title":{"rendered":"Data blooms and gardens glitch in Rob Farmer\u2019s generative animations"},"content":{"rendered":"

We first discovered Rob Farmer\u2019s work<\/a> when we came across his Data Blooms series<\/a> \u2013 a beautiful set of generative animations made with kinetic typography in Cavalry. You\u2019d be pretty surprised to hear the designer and illustrator only started experimenting with motion a few years ago when he discovered the animation software in between projects working at a creative agency in New York. Although a lot of his biggest design inspirations are creative coders, such us Talia Cotton<\/a> and Ksawery Komputery, \u201csadly I don\u2019t know how to code\u201d, he tells us, \u201cbut Cavalry felt very intuitive and let me design generatively. What I like about generative design is that it\u2019s simply number values that drive or define other values.\u201d<\/p>\n

In this algorithmic approach to motion, Rob\u2019s generative design work often depicts patterns found in the natural world, using type<\/a> or simple graphic forms like stitches<\/a> as a dynamic material for movement, but not in conventional ways. Even if made digitally, his portfolio feels like it fits into the fabric of our analogue life and unfolds from natural, evolving and familiar patterns. \u201cI think the natural world will always be much nicer than a digital one,\u201d he shares, \u201cbut I like trying to recreate these patterns with a computer.\u201d<\/p>\n

Rob\u2019s inventive approaches to motion have shaped creative commissions for Google, a campaign for Coinbase<\/a> as well as illustration commissions for journals like The Economist, but the majority of the designer\u2019s work is for the sole purpose of play. \u201cWhether it\u2019s drawing or using software, I love making without purpose and I create a lot in my spare time. I think it\u2019s really important to make space to create work outside of \u2018real\u2019 work\u201d, he says. Having moved back home to Melbourne this year, after his creative stint in NYC, Rob\u2019s new role at a brand design studio has given his personal creative work a new meaning \u2013 \u201cI\u2019m always kinda imagining that I could use these silly little things I put on Instagram in a thoughtful and fun brand system. Hopefully one day I will!\u201d, he ends.<\/p>\n