u/Betty_Sweaters

Now available on Patreon: https://www.patreon.com/cw/BettySweaters

Yuk! is a grungy, green, mixed-media visual pack built around a toxic waste-inspired aesthetic and a character I call Ms. Yuk — my 3D girlfriend with a “Yuk” sticker for a head.

Ms.Yuk was created with Blender by kitbashing a body model to a Mr.Yuk Puck-head I made in Illustrator. The animations were also made in blender with some rigging assistance w/ Mixamo. From there, I brought the scenes into After Effects to build out the final visuals, compositing the character with background elements, additional source footage, and graphic textures. I also used After Effects to touch up and stylize the character and apply the mixed-media paper treatment, giving the footage its grungy, printed and slightly imperfect look.

The result is a collection of character-driven loops centered around Ms. Yuk, with a mix of green textures, graphic backgrounds, paper imperfections, and layered animation.

Suggested uses:
-Use as standalone visuals
-Add threshold effect, for a grungier black and white style
-Layer and blend with each other create chaotic, cohesive collages

— Betty Sweaters

Loop Pack Available on Patreon

Textura Obscura is a collection of blue-toned texture and abstraction visuals that blend analog video processing, mixed-media animation, and digital effects into a layered, multimedia aesthetic.

The pack was built from a variety of source material, including visuals created in NestDrop, Resolume, and other abstract animations. These were then routed through a feedback-heavy analog signal chain consisting of two Roland Edirol V4 video mixers, a BPMC Premium Cable, a Mezkalin Video Master, camera feedback, and multiple layers of internal video feedback. As the signal passed through the system, each stage introduced new textures, distortions, and motion, creating a library of unique analog source footage.

Once the analog visuals were captured, I brought everything into After Effects, where I applied a mixed-media treatment inspired by DreadLabs' mixed-media animation tutorial and project files. Paper textures, film grain, threshold and ink bleed effects, and subtle imperfections were layered in to give the visuals a tactile, printed quality.

As a final step, the clips were processed through PhotoMosh Pro using a custom patch I built for this project. This introduced additional strobe behaviors, posterization, subtle 8-bit pixelation, glow and luminance-reactive effects, along with digital glitching and decimation to further evolve the imagery while preserving the analog foundation.
The result is a collection of texture-driven abstract loops that sit somewhere between analog video art, mixed-media collage, and digital glitch processing. The combination of these workflows creates visuals that feel tactile, layered, and continuously evolving.

Suggested uses:
-Layer with other visuals to add texture and depth
-Use as standalone abstract visuals
-Layer them together to create more dynamic visuals collages

— Betty Sweaters

Loop Pack available on Patreon: https://www.patreon.com/c/BettySweaters?vanity=user

Loop pack available on Patreon: https://www.patreon.com/c/BettySweaters

(77 Loops | File Size: 5.74 GB)

Loops available on Patreon:https://www.patreon.com/posts/hazard-loop-pack-157027611

Now available on Patreon (23 Loops | 4.9 GB ) https://www.patreon.com/c/BettySweaters

Chromakopia comes from another analog session with Plasma Wizard, built around his classic liquid light setup and the same feedback-driven workflow used in the Slime Light pack — but with an additional layer of digital post-processing to push the colors and textures further.

Like the previous pack, the visuals started with Plasma Wizard’s liquid light rig, where dyes, inks, and oils are manipulated between glass plates on an overhead projector to create constantly shifting organic motion. Alongside the liquid light source, camera feedback was introduced to create additional motion and distortion in the signal.

From there the signal moved through an analog chain: first into an Edirol V4, then through a Mezkalin VideoMaster, before being mixed again through my second Edirol V4. During this stage I introduced additional internal glitch feedback using my BPMC Premium Cable, bending and destabilizing the signal before capturing the final analog output.

Once the analog visuals were recorded, I brought them into PhotoMosh Pro to experiment with additional digital feedback, texture treatments, and color processing. This stage pushed the visuals into more saturated, psychedelic territory while still retaining the organic motion and feedback artifacts from the original analog chain.

The result is a set of liquid light loops that blend raw analog feedback with digital color distortion — fluid, chaotic, and highly saturated.

Suggestions / ideas for running clips live:

• Use standalone during colorful, psychedelic sections of a set
• Layer with other visuals to add additional motion and texture
• Combine with mirroring or kaleidoscope effects to generate evolving color patterns

— Betty Sweaters