Philly-Bob’s Free-for-All 2018

One man's visual art, largely consisting of digital manipulations of images, taken from (1) my own photographs/videos, (2) downloaded from the Public Domain, or (3) utilized under the Fair Use provision of copyright law.

Portrait by Remo Frangiosa

Artist's Statement

Although I have been interested in art and graphic design all my life, I only began working seriously after I retired in 2010.

January, 2018, update: In October, 2017, I changed artistic direction perhaps temporarily, perhaps permanently. In preparation for the February Animation Show at Philadelphia's Plastic Club, I have switched from my usual still images to animation and video. I intend to continue doing animation -- a much more time-consuming artistic discipline, with a steep learning curve, and many more variables -- until February, and then I will decide whether or not to continue with animation and video, or to return to the still images I have been doing since 2012.

My images are strongly influenced by the optical textures I see when I close my eyes and by what I see when I dream. They are also influenced by the hallucinatory visions I saw under the influence of anaesthesia following open heart surgery.

I often use commercial art, illustration, and typography as a source of ideas.

For maximum effect with my images, click repeatedly on the image until it is full-size, which may be larger than your computer screen.

SOURCES: Image: Illustration from undated book "Guia Completa De La Caligrafia Arabe Extendida" Music: From 2018 album "Six Degrees: eXperiments" by composer Keith David Doyle
February 21, 2018

"Our MCST was ordered to survey a sector believed to be completely erased by the electromagnetic pulses of World War 3. We encountered an unusual cluster of coherent information at We circled it to determine scale. It was roughly 4600 pixels wide by 6000 pixels high. The cluster's surface was variegated in color and seemed to be surrounded by lines indicating a data field (whether attractive or repulsive we couldn't determine.) MCST #1216 awaits further instruction."
I tried to figure out a way to put this text into image, to turn it into a science fiction story. but ran out of time.
The image is a photo of a large 18th century floral spray brooch from a 2017 catalog called Jewels of Portugal (Link1) by the S.J. Phillips Collection.
Music is a 2018 song, "New Horizons," from the album Legends of the Imminent Winter (Link2) by Russian musician Marcus Denight.
February 20, 2018
Left, a video exploration of an image (right) of the head of Jesus, from a crucifix created in the 15th century by Austrian sculptor Michael Pacher in the city of Bruneck. It is from the 1909 book Michael Pacher (Link1). Music in video is from a 2018 album by Indonesian musicians Hafid Kurnia and Tebatabata, called The Day After We Were Alone (Link2).
Also entered this video into the Plastic Club-hosted Philadelphia Independents Animation Festival.
February 17, 2018
Left, a video exploration of a pattern (right) created by manipulation of figures in a 1930 trade catalog by Boynton-Waddell Company called Cut and embossed mouldings In wood (Link1). Music in video is from 2018 Música Refinada by Brazilian musicians Guilherme Darisbo & Marcelo Armani (Link2).
May enter video into the Plastic Club-hosted Philadelphia Independents Animation Festival.
February 14, 2018
IMAGE: "Dawn", a photo from a 1937 edition of "Amateur Photographer & Cinematographer" (Link: The photographer is Australian-born English photographer Rosalind Maingot.
MUSIC: "Okrualno I", a song by Janne Nummela from 2017 album "FLOW(ER(ROR)" (Link:
This animation -- I call it a roving eye technique -- only took about six hours.
See animation
February 11, 2018
WEEKEND REVIEW 2/10-11/2018

Decided to switch to a schedule of daily still images (maybe just 3 or 4 a week) and one weekly animation to keep my animation skills current. Today's animation took me nearly 12 hours. Trying to set an ambitious pace, but not one that will -- well, literally, kill me.
See animation
February 10, 2018
A ragged textile specimen from the 1900 Etoffes byzantines, coptes, romaines, etc. du IV au X siècle (Link1; Google Translate: "Byzantine fabrics, Coptic, Roman, etc. from IV to X century"). My guess: a carpet.
February 10, 2018
A wild improvisation on a set of speculative designs (Link1) by Anne Ominous in competition for a new Australian national flag. My riff on Anne's designs is meant to be respectful, though totally unrelated, of her detailed and thoughtful graphic work.
February 9, 2018
A photo from a 1937 edition of Amateur Photographer & Cinematographer (Link1). Accompanying texts discusses the difference between shooting in the studio and shooting outside.
This image marks a return to my earlier graphic style, with text (in Woodcutter Rude Press font) and trilobite and expansive framing, before I decided to try animation in October.
February 7, 2018

A video scan of a Japanese brocade from the Boston Museum of Art, from a drawing in a 1909 Art and Progress magazine (Link1). Background music is from the album Remember_To_Let_Go (Link2) by Jiri Blazek & Brian Ruskin. It goes too fast; I have not been able to figure out how to slow it down in Photoshop Video timeline.


February 6 , 2018
A composition of elements from the 1910 Stencils & stencil materials (Link1) by Sherwin- Williams. Top layer is a stencil showing a forest, the lower layer is a color chart of paints.
Did another version of this image, using (for the first time) Photoshop frame animation. Saved as GIF file. But unfortunately, I set it to loop FOREVER. Not sure how to control looping behavior.
Other animation projects:(1) Therapist and alien, (2) Pepe Frog.
I return to my older graphic design style, on a blissful free Saturday, with only a few errands. On one of the errands, however, I was hurrying home pushing a folding shopping cart down the street, when the cart hit a bump in the pavement, and I fell face first on top of the cart. The only damage was a scrape and bump on my leg, which I only noticed some two hours after the fall. Thus, I violated the cardinal rule of this period of my life: "JUST DON'T FALL."

February 3, 2018
From the 1896 Handzeichnungen alter Meister aus der Albertina und anderen Sammlungen (Link1; Google Translate: "Hand drawings of old masters from the Albertina and other collections"), two drawings. In the background, a 1519 brown head study from the school of Lucas Cranach. In the foreground, on the left, a decorative design showing a young man sketching or writing in a book, set against a design of flowers.
February 2, 2018
Visiting Philadelphia's Italian Market. The colorful neighborhood (which has its own Tourist Center) has gone through ethnic population shifts since its heights in the past, as witnessed by this shop window double poster. Janice and I got on the waiting list for an apartment there -- but we hope we never have to move.
February 1, 2018
Walking West on Walnut Street, I passed a small artist's studio displaying the picture above. Note the way the painting makes goatish ram horns look like Trump's orange hair. The text reads:
Dear Donald,  	

I am so proud of you for taking from the poor and giving to the rich.
For being just racist enough, having Congress and the[m]
eating out of your hand. For being a graet [sic] liar, 
you're the biggest bully in the political playground. 
When this job is done, the United States of America will 
be in total chaos. 
Last but not least, remember Pride: You have lots of it, it's a sin.
I know you're tr[y]ing to start a war. I can help! 

Your father
But there's a disturbing element here. I'm well-acquainted with American liberals' intense dislike of this president. But that dislike can unhinge the hater. What does the artist mean in offering to help Trump start a war? Why is the message signed "Your Father"?

These are times when people seem to a bit unhinged. I am reminded, once again, of William Butler Yeats' 1919 poem The Second Coming. I see it in my nation, and I see it in my own building, where a post-Trump tax rise has encouraged existential panic, irresponsible rumors, and political manuevers by those who promise "I can fix it."

It is the night of the State of the Union address; and I am depressed because if I no longer believe in the common folks' ability to reason and distinguish truth from falsehood and vote in their own interest, then what do I believe in?
January 31, 2018

After three months of working hard -- almost obsessively -- to learn the basics of video animation, I find myself like a man awakening from a coma: socially isolated; slowed by a shoulder injury, origin unknown; and deconditioned from a sedentary easy-chair indoor lifestyle. I wonder what comes next?

A hint of what comes next is this quote from the 13th century Italian poet Dante Alighieri. It is from his third book, Paradiso. Comparing myself to Dante, I have travelled through, first, the Inferno of Hell, then Purgatory, and now have arrived in Heaven -- which turns out to retirement, with Internet. What I intend to do now with my remaining time on earth -- with 73 years gone already -- is to recall items in the treasure houses I have seen: in the archives of the public domain, in my own journeys, and in the dark complexities of social media.

The context is that, even aside from the issue of my own lifespan, we live in dangerous times, with the survival of post-WWII Anglo-American democracy as I know it in some peril, threatened by climate, war, and civil catastrophe. I am like a solitary monk recording memories and impressions as a mighty empire collapses around me, horrified but helpless to change the course of events.

The quote from Dante is:
"Nevertheless, whatever portion Time
still leaves me of the treasure of that kingdom
shall now become the subject of my rhyme."

The image is my first non-animation since October. The lettering is in Woodcutter's Army Stencil font. Woodcutter is a skilled but irreverent Spanish artist, a real bad boy -- check out his "reinterprets" and his collection of vintage fonts he found on his travels.

The quote is superimposed on two mingled layers: (1) my photograph, taken today, of a broken window on Philadelphia's Walnut Street and (2) a drawing of a column from the 1821 The architectural Antiquities of Rome (Link1).
January 30, 2018


Another animation looking backward to pre-WWII geopolitics. Based on Harry Hathaway's 1941 movie Sundown (Link1), set in Kenya when it was an English colony. Also includes a reference to the multiple short, catchy bugle calls of the English army (Link2), which appear in the movie, as interpreted by award-winning composer Miklós Rózsa.
This may be my last animation before the January 27 deadline for entries to the Plastic Club's Movement, Motion and Sequential Art show. I started out on my journey to learn video/animation techniques in late October of last year, and have done nearly 45 animations of different styles and quality in these three months. Unclear what my direction will be after the animation show. Unclear which animations I will enter into the show. I am somewhat exhausted after the effort, but am proud that I was able to achieve results.
January 24, 2018

A shorter piece, without my narration, built around an exciting scene from Alfred Hitchcock's 1940 film Foreign Correspondent (Link1). It is depressing that these days some Americans and Europeans openly espouse Nazism, despite the tale of suffering it caused last time around.
January 21, 2018

A very long (nearly 14 minutes) critical and artistic view of a 1965 Brazilian film, A Falecida (Link1; translation from Portuguese: "The Deceased"). Took a very long time to do, with a lot of frustration, but made some technical breakthroughs. Humming ad-libbed by Janice. It's depressing at the beginning -- a death scene! -- but stick around to the end.
January 18, 2018

Parts of a Judy Garland performance from a 1946 musical biography of composer, Jerome Kern, Till the Clouds Roll By (Link1). Also, a kind of grumpy rant, an experiment with closing comment instead of opening comment.
January 10, 2018

Remarkable music and a surprising sense of female fashion in a 1952 Spanish language film, Cartas a Eufemia (Link1). Again, entirely done in Photoshop, but I think the audio levels are inconsistent, and I would have to learn to adjust them in another program or adjust them in Photoshop.
January 9, 2018

Experimenting with getting my own handsome mug into the mix, recreating the format of the radio news stories I did in the 1980's. Entire job done in Photoshop. Video source is 1936 Dracula's Daughter (Link1).
Finished annual switch to Philly-Bob's Free for All 2018.
January 6, 2018

A scene setting up the plot of a 1938 action mystery, Bulldog Drummond in Peril (Link1).
Next move is to file away 2017 work and redo for 2018. Probably tomorrow.
January 4, 2018

Opening sequence from a 1981 Indian movie, about the misfortunes of young girl in India in the 1920's. Here's the plot summary:
"After the passing away of her parents, Mangala moves in with her maternal uncle, his wife, and five cousins, who all live a poor lifestyle in a small town. She has a sweetheart in Anoop and hopes to marry him someday. When Anoop hesitates, her marriage is arranged elsewhere, however, on the day of the marriage, the groom meets with an accident and passes away. Her aunt quickly gets her married to a singer named Anand. After the marriage, Mangala is shocked to find that Anand is blind and detests him. When she finds out that he cares for her, she changes her mind and falls in love with him. Then Anoop re-enters her life, Anand finds out, and drives her out. Mangala returns home to her aunt, but she refuses to accept her. Then Mangala finds out that Anand has become a famous singer as well as an alcoholic. She goes to his house in Bombay, gets herself hired as a servant, calls herself Daasi, and pretends to be dumb so that Anand cannot hear her voice and recognize. Eventually she settles in, Anand is pleased with her work, but she also finds out that he hates Mangala; then publicly announces that he is going to marry a dancer by the name of Tara; Tara, catches her stealing a necklace, and to complicate matters even more - Anoop re-enters their lives again."
Happy New Year, everybody!
January 1, 2018

An incident from a 1982 movie about India's fight for independence, Desh Premee (Link1; "The Patriot"). Underlying it is music by Chilean electronic musician Eduardo Yanez Torres (GOZNE) from his 2017 album Fin del Tiempo (Link2; "The End of Time").
Work was mostly done in Photoshop, which allows me to adjust sizes to dimensions other than the usual TV and movie formats.

December 27, 2017

As year ends, I think I am moving beyond simple experiments. This one is a more finished work. It features the music of Coni Ciblis (of Buenos Aires, Barcelona, and London) combined with quote she recommended on her social media. I like her voice a lot.
Merry Christmas & Happy Holiday, everyone. Sources:
December 25, 2017

ARCHIVE: Webpage Proprietor's Portraits
Time to change my image at top of this web page. The new image is a small pencil portrait done by Remo Frangiosa. It was done while I sat for Remo's portrait class over a two-week period at Philadelphia's historic Plastic Club in September, 2015.
The second image is a larger painting I commissioned from the Plastic Club's Andy Hoffmann.

Next are two other images also used as masthead portraits. Third image is an iPad self-portait in a coffee shop (approx. 2014). It is probably the best representation of my revulsion at the aging process and my sadness at the prospect of diminishing cognitive powers.
Fourth is an attempt to limit portrait to the fewest number of facial features and still be recognizable (approx. 2012). (Sorry: unlike the other images on this page, these masthead pictures don't enlarge when clicked...)
Fifth is a drawing done in our Open Studio workshop by Meri Collier, a Toronto-based artist and member of the Plastic Club.

For other images from the portrait class sitting, see entry for September 22, 2015 -- you'll have to click on the "2015 Archive" link at the top of this page.

To contact Philly-Bob, email me at bobmoore [at symbol] (of course, replace "[at symbol]" with "@"].

Masthead Portrait by Remo Frangiosa, 2015