Double vision: the integration of printmaking and motion graphics through video mapping

Double Vision is a proof of concept collaboration between artists David Lyons and Raz Ullah, produced with the aid of software developed by computer scientist David Flatla. The aim of the artistic experimental pieces that comprise Double Vision is to further explore the idea that artwork can be intentionally created to be experienced differently depending on one’s visual abilities.

Double Vision consists of a set of black and white prints that, when combined with motion graphics spatially mapped onto their surface, create potent visual experiences for both colour blind and typically sighted audiences. An audio soundscape accompanies the prints. Companion smart devices programmed with specially designed augmented reality software are provided to visually translate the experiences for these two audiences, thereby adding further levels of interaction.


The prints are 86cm x 86cm black and white screen prints based on imagery influenced by the Ishihara Color Blind Test. Unlike the Ishihara plates, the prints themselves are void of colour and use black instead of white for the background/negative space (image 1).

The computer generated motion graphics overlay a sequence of colours onto the white areas of the prints whilst increasing the intensity of the black regions to create the impression of movement in the print. The chosen sequences of colours communicate different messages to colour blind and typically sighted viewers. Colour conversion tables were used to help determine and refine the colours used for each motion graphic. In conjunction, the developed smart device application allowed each audience to view the work as seen by the other.

The sound piece that accompanies the projection-mapped prints was developed to create a completely immersive environment that would draw visitors into the space and heighten their senses while interacting with the prints.

The underlying concepts, imagery development, technology employed and the simulation software creation are examined and discussed from artistic, technical and scientific positions. Responses to the art and software by different audiences are evaluated. Further lines of exploration are presented.