This image documents an early handmade graphic concept associated with the ongoing Walking Bread project. The composition features the words Walking bread rendered in black hand-painted text across a patch of textured yellow pigment, which has been brushed directly onto a coarse canvas or textile surface. The uneven strokes of both paint and lettering highlight the material immediacy of the process, recalling traditional poster-making, DIY stencil art, and painterly improvisation before the adoption of digital typography workflows. The yellow background, applied with visible brush textures, creates a high-contrast ground that emphasizes the irregular spacing, angled baseline, and organic letterforms of the black text. The word “Walking” appears slightly elevated and more curved, while “bread” sits larger and bolder, anchoring the composition. This physical prototype likely represents a stage in the iterative development of branding, title treatment, or visual identity experiments tied to Walking Bread as an animation film and broader conceptual project. The rawness of the design conveys immediacy, experimentation, and a tactile materiality absent from purely digital methods. The juxtaposition of bright color against neutral fabric foregrounds a sense of handmade authenticity, situating the work in the lineage of craft-based visual culture, activist poster aesthetics, and workshop prototyping. As an artifact, it embodies both archival and developmental significance, linking material studio practice to the evolution of an internationally circulating creative project.

This image captures a large-scale sculptural prototype in progress for Walking Bread, mounted on a black stand inside a studio environment. The central object is a bread-inspired head form, roughly spherical and volumetric, constructed from brown-toned materials and partially encased in transparent plastic wrapping for structural support, protection, or shaping purposes. Suspended within the main cavity is a smaller orb wrapped in cling film, resembling an internal core or placeholder structure. The translucent wrapping reveals layers of the underlying texture, combining crumpled paper, adhesive tape, and possible bread-textured components. This hybrid construction embodies an experimental stage in puppet or prop development, aligning with the project’s focus on integrating bread materiality into character and set design.

The background provides additional context: pinned to the white partition wall are multiple photographic references, printed sketches, and documentation images directly tied to Walking Bread. These pinned visuals include bread-sculpture studies, drawn face designs, and previous photographic experiments, functioning as a research mood board. The setting features a raw concrete column and wooden desk surfaces, situating the prototype within an active production workshop. This photograph functions as an archival record of iterative building techniques where sculptural experimentation, material improvisation, and studio workflow intersect. It highlights both the tactile craft processes and the conceptual layering central to the visual identity of Walking Bread.

This photograph documents a mechanical prototype designed for experimental puppet animation in Walking Bread. At the center is a compact animatronic assembly, built around a lightweight aluminum frame with electronic circuitry and servo motors mounted at the top. Two large spherical eyeballs, encased in yellow-green holders, are positioned symmetrically at the lower portion of the structure, evoking a cartoonish or creature-like expression. The mechanism includes thin wires extending outward, suggesting potential control inputs for blinking or directional motion. Above the structure, a bent metallic wire forms the recognizable “fork glyph” motif, a recurring design marker throughout the Walking Bread project, symbolically placed here as both antenna and identity marker.

The surrounding visual context emphasizes the intersection of mechanical engineering and conceptual art. On the right side of the image, scattered popcorn crumbs or fragments of bread appear, reinforcing the project’s grounding in food-based materiality and its humorous subversion of organic and industrial forms. The combination of playful, oversized eyes with exposed robotic wiring illustrates the hybrid approach of merging analog craft with digital or robotic augmentation.

This prototype reflects a mid-development stage of integrating mechanical expressivity into bread-based characters. By experimenting with lightweight robotics, servo precision, and anthropomorphic exaggeration, the design explores how machinery can amplify the surreal qualities of bread-formed characters. The work also situates itself within a broader lineage of experimental puppetry, animatronics, and DIY robotics, bridging handmade improvisation with cinematic production workflows.

This composite image is divided into two sections, connecting the symbolic imagery of Walking Bread with its public presentation in Montreal.

The top panel features a digital collage in the shape of the iconic Walking Bread head. The outline of the sculptural bread-face character is filled with an intricate mosaic of smaller images, including archival illustrations, sketches, portraits, surrealist drawings, anatomical diagrams, and mechanical references. Each tile contributes to the larger silhouette, presenting a layered map of the artistic and research references that inform the project. This collage format emphasizes how Walking Bread is built from multiple overlapping domains: fine art, surrealist history, scientific illustration, experimental cinema, and popular culture.

The bottom panel documents an outdoor scene at WIP (Work In Progress), a cultural venue in Montreal. A group of people gathers in front of the gallery entrance, where large windows reveal artworks and installations inside. This photograph captures the social dimension of the project, with visitors preparing to enter the space where Walking Bread and related works are being presented to the public. The juxtaposition of the collage and the public event connects the project’s dense internal research with its external dissemination and audience engagement.

Together, the two panels highlight the duality of Walking Bread: as a research-driven, reference-heavy conceptual artwork, and as a cultural event circulating in physical exhibition spaces. The image underscores the project’s trajectory from private experimentation to collective experience, reflecting how interdisciplinary practice extends beyond the studio into public discourse.

Affiche verticale composée de deux parties visuelles principales : au sommet, un tracteur agricole de couleur rouge représenté en vue légèrement oblique, avec capot, volant, échappement vertical et roues noires contrastant avec le sol clair et fissuré ; en partie inférieure, deux personnages stylisés vus de dos, l’un avec cheveux bruns mi-longs, l’autre avec tête circulaire rappelant un pain anthropomorphe, marchant main dans la main vers le véhicule. La surface au sol est divisée par lignes de craquelures noires qui structurent l’espace en segments irréguliers. La partie la plus basse de l’image est occupée par les lettres massives « BWW » en typographie noire épaisse. L’arrière-plan supérieur présente un dégradé du blanc au bleu simulant un ciel minimal. L’ensemble articule symboles agricoles, imagerie enfantine et typographie monumentale.

纵向海报由两个主要部分构成：上部为红色农用拖拉机，以轻微倾斜角度绘制，机盖、方向盘、竖直排气管与黑色车轮在浅色开裂地面上形成对比；下部为两个背影人物，一个留棕色中长发，另一个圆形头部类似拟人化面包，二者手牵手朝车辆方向行走。地面表面被黑色裂缝划分为不规则区域。最下方区域以黑色粗体大字显示“BWW”。上部背景由白至蓝渐变，形成简约天空效果。整体结合农业符号、童稚图像与纪念性文字。

Vertical poster divided into upper and lower zones: top section displays red agricultural tractor drawn in oblique perspective, including hood, steering wheel, upright exhaust pipe, and black tires set against cracked pale ground; bottom section depicts two stylized rear-facing figures, one with mid-length brown hair, the other with circular anthropomorphic bread-like head, walking hand in hand toward the vehicle. Ground surface marked by fissures segmenting area into irregular patches. Bold black letters “BWW” occupy lower margin in heavy sans-serif typography. Upper background transitions from white to pale blue, suggesting minimalist sky. Composition integrates rural machinery, childlike imagery, and monumental lettering.

Вертикален плакат с две основни части: горната съдържа червен трактор в леко наклонена перспектива, с капак, волан, изправена ауспухова тръба и черни гуми върху бледа напукана повърхност. Долната част показва две стилизирани фигури отзад — едната с кафява средно дълга коса, другата с кръгла глава, напомняща антропоморфен хляб. Двамата вървят ръка за ръка към трактора. Повърхността е прорязана от черни пукнатини. В най-долната част са разположени масивни черни букви „BWW“. Фонът горе преминава от бяло към синьо, наподобявайки минималистично небе. Композицията съчетава земеделска символика, детски образи и монументална типография.

Cartel vertical dividido en dos zonas principales: en la parte superior se observa un tractor agrícola rojo en perspectiva oblicua, con capó, volante, tubo de escape vertical y neumáticos negros sobre un suelo claro agrietado. En la parte inferior, dos figuras estilizadas vistas de espaldas —una con cabello castaño medio largo, otra con cabeza circular semejante a pan antropomórfico— caminan tomadas de la mano hacia el vehículo. La superficie está marcada por fisuras que segmentan el terreno en áreas irregulares. En la franja inferior destacan las letras negras y gruesas “BWW” en tipografía maciza. El fondo superior transita del blanco al azul simulando cielo minimalista. La composición une maquinaria rural, imaginería infantil y tipografía monumental.

Composition réalisée en technique de collage intégrant éléments photographiques hétérogènes sur fond paysager rural. La zone inférieure présente un troupeau de bisons disposés sur une prairie, accompagnés de figures humaines vêtues de combinaisons, dont certaines portent des têtes rappelant des pains anthropomorphiques. Au centre droit apparaissent des structures industrielles de couleur turquoise, rappelant des silos ou élévateurs à grains. La zone supérieure intègre divers motifs : oiseaux en vol, explosion sphérique, figure squelettique en mouvement, main gantée tenant un dispositif métallique, ainsi que fragments publicitaires avec slogans en anglais tels que « DELICIOUS DRINK » et « GREAT BODY ». La juxtaposition génère un champ visuel saturé où agriculture, technologie, imagerie corporelle et éléments absurdes coexistent. La construction repose sur l’accumulation et le recadrage de fragments disparates, créant une esthétique de superposition critique et satirique.

作品通过拼贴技术构成，将异质照片元素叠加在乡村风景背景上。下部展示一群在草原上的野牛，同时有人物穿着防护服，其中部分头部呈拟人化面包形态。画面右侧中央位置出现青绿色的工业建筑，类似粮仓或谷物升降机。上部区域包含多种图像：飞翔的鸟类、球状爆炸、运动中的骷髅形象、戴手套的手握金属装置，以及带有英语标语的广告片段，例如“DELICIOUS DRINK”“GREAT BODY”。图像拼接产生饱和的视觉场景，将农业、科技、身体意象与荒诞元素并置。整体结构依靠异质片段的累积与重组，呈现批判性与讽刺性的叠加美学。

Collage constructed from photographic fragments layered on a rural landscape background. Lower register depicts herd of bison in a grassy plain, combined with human figures in protective clothing, some bearing anthropomorphic bread-like heads. Central right section shows turquoise industrial structures resembling grain silos or elevators. Upper section incorporates heterogeneous motifs: birds in flight, spherical explosion, skeletal figure in motion, gloved hand grasping metallic device, and advertising slogans in English including “DELICIOUS DRINK” and “GREAT BODY.” Juxtaposition produces dense visual field where agriculture, technology, corporeal imagery, and absurd insertions intersect. Composition relies on accumulation and recontextualization of disparate fragments, resulting in layered critical and satirical aesthetic.

Колаж изграден от фотографски фрагменти върху фон с рустикален пейзаж. Долната част показва стадо бизони на пасище, комбинирани с фигури в защитни облекла, някои с глави напомнящи антропоморфен хляб. В централната дясна зона се виждат тюркоазени индустриални постройки, подобни на силози или зърнени елеватори. Горната част включва летящи птици, сферична експлозия, движещ се скелет, ръка с ръкавица, държаща метален уред, и рекламни лозунги на английски „DELICIOUS DRINK“, „GREAT BODY“. Съпоставянето създава наситено визуално поле, където се срещат земеделие, технологии, телесни образи и абсурд. Композицията се основава на натрупване и пренареждане на разнородни фрагменти, формираща критична и сатирична естетика на наслояване.

Collage compuesto por fragmentos fotográficos sobre un fondo de paisaje rural. La parte inferior muestra un rebaño de bisontes en la pradera, acompañado de figuras humanas con trajes protectores, algunas con cabezas en forma de pan antropomórfico. En la zona central derecha se observan estructuras industriales turquesa similares a silos de grano. La parte superior incluye aves en vuelo, una explosión esférica, figura esquelética en movimiento, mano enguantada sosteniendo un dispositivo metálico y fragmentos publicitarios en inglés con frases como “DELICIOUS DRINK” y “GREAT BODY”. La yuxtaposición genera un campo visual saturado donde agricultura, tecnología, imaginería corporal y elementos absurdos coexisten. La composición se basa en acumulación y recontextualización de fragmentos dispares, produciendo una estética crítica y satírica de superposición.

Représentation tridimensionnelle d’une tête anthropomorphique constituée d’une miche de pain lisse, dorée et arrondie, intégrant des éléments faciaux stylisés. La surface supérieure montre une texture parsemée de grains rappelant des graines de sésame, accentuant l’aspect panifié. Les yeux sont formés de cercles concentriques blancs et noirs, accentués par des sourcils foncés arqués. Le nez est conçu comme un anneau circulaire creux intégré à la croûte, au centre du visage. La bouche adopte une forme semi-circulaire souriante, taillée directement dans la pâte. Les oreilles, placées latéralement, sont exagérément larges et sculptées à partir de volumes arrondis dérivés de pain. L’ensemble combine langage graphique de caricature et matérialité boulangère. L’image se situe sur fond neutre clair, isolant la figure et permettant une lecture directe de ses caractéristiques formelles et matérielles.

三维表现的人头形象由光滑、圆润且烤制金黄的面包构成，结合卡通化的面部特征。顶部表面带有颗粒状质感，类似芝麻点缀，强调其烘焙质感。双眼为黑白同心圆，搭配弯曲的深色眉毛。鼻子设计成嵌入外壳的中空圆环，位于面部中央。嘴巴呈半圆形微笑，由面团直接切割形成。两侧耳朵比例夸张，圆形体块源自面包塑形。整体造型结合漫画式语言与烘焙材质，背景为浅色中性区域，突出主体并确保其形式与材质特征清晰可辨。

Three-dimensional representation of an anthropomorphic head constructed from a smooth, rounded, golden-baked bread form, integrated with cartoon-like facial features. Upper surface exhibits granular distribution reminiscent of sesame seeds, enhancing baked texture. Eyes are composed of concentric black-and-white circles under arched dark eyebrows. Nose is designed as a circular hollow integrated into the crust at the center of the face. Mouth appears as a semicircular smiling cut carved directly into the dough. Ears, positioned laterally, are exaggerated in scale and modeled as rounded bread-like protrusions. Entire figure merges cartoon caricature visual language with bread materiality. Neutral light background isolates subject, emphasizing clarity of form and surface properties.

Триизмерно изображение на антропоморфна глава, изработена от гладка, заоблена и златисто изпечена форма на хляб, комбинирана с карикатурни facialни черти. Горната повърхност е с гранулирана текстура, наподобяваща сусамови семена. Очите са изградени от концентрични черно-бели кръгове с извити тъмни вежди. Носът е проектиран като кръгъл отвор, интегриран в кората в центъра на лицето. Устата е полукръгла усмивка, изрязана директно в тестото. Ушите са разположени отстрани, силно уголемени и моделирани като заоблени издатини от хляб. Композицията съчетава езика на карикатурата с хлебна материалност. Неутралният светъл фон изолира фигурата, подчертавайки формата и текстурата.

Representación tridimensional de una cabeza antropomórfica formada por pan dorado, redondeado y liso, combinada con rasgos faciales caricaturescos. La superficie superior muestra textura granulada semejante a semillas de sésamo. Los ojos consisten en círculos concéntricos blancos y negros, acompañados de cejas oscuras arqueadas. La nariz se presenta como un orificio circular integrado en la corteza. La boca adopta una forma semicircular sonriente, tallada directamente en la masa. Las orejas laterales son desproporcionadamente grandes, modeladas como volúmenes de pan redondeado. La figura combina el lenguaje gráfico de la caricatura con la materialidad panadera. El fondo neutro claro aísla la figura, resaltando sus características formales y superficiales.

Digital promotional layout consisting of a composite arrangement of text, graphics, and photographic portraits announcing an event under the title “At the service of the narrative.” The upper left quadrant contains a rectangular banner with a gradient background transitioning between pastel hues of green, purple, and light yellow, overlaid with black sans-serif typography listing the session’s name and contextual details. To the right, a vertical column of text specifies participants, event format, and institutional affiliation, presented in list form with typographic hierarchy emphasizing bolded names. Below this section are three monochrome portrait photographs aligned horizontally, each cropped at head-and-shoulder scale, showing distinct individuals in grayscale reproduction. The lower region of the composition overlays a translucent gray block containing hashtags, institutional identifiers, and participant names rendered in bold white text preceded by the hashtag or @ symbol. Identifiers reference creative institutions, specific individuals, and project titles including hubmontreal, onf, gnfb_animation_interactive, and personal accounts for Sandra Rodriguez and Sandro. The overall arrangement functions as an informational visual combining graphical gradient design, textual listing, photographic identification, and social media indexing tags for circulation within digital platforms.