Australian designer and illustrator Rob Farmer has captured widespread attention with his mesmerizing "Data Blooms" series, a collection of generative animations that transform digital typography into organic, nature-inspired visual experiences. Using the animation software Cavalry, Farmer creates kinetic compositions that blur the line between digital artistry and natural patterns, despite having only begun experimenting with motion graphics a few years ago.
Farmer's journey into generative animation began during his time working at a creative agency in New York, where he discovered Cavalry between projects. "Although a lot of my biggest design inspirations are creative coders, such as Talia Cotton and Ksawery Komputery, sadly I don't know how to code," Farmer explains. "But Cavalry felt very intuitive and let me design generatively. What I like about generative design is that it's simply number values that drive or define other values."
The designer's work stands out for its unique approach to depicting natural world patterns through algorithmic motion. Rather than using conventional animation techniques, Farmer employs typography and simple graphic forms like stitches as dynamic materials for movement. His portfolio includes projects with evocative names like "Cross Stitch," "Glitch Garden," "Digi-Waves," "Ant Picnic," "Jellyfish," and "Number Drops," each demonstrating his ability to create digital art that feels organically connected to the natural world.
"I think the natural world will always be much nicer than a digital one," Farmer shares, "but I like trying to recreate these patterns with a computer." This philosophy is evident throughout his work, where even the most digitally-created pieces unfold in natural, evolving, and familiar patterns that feel cut from the fabric of organic life.
Farmer's innovative approaches to motion design have attracted significant commercial attention, leading to creative commissions for major brands including Google and a notable campaign for cryptocurrency exchange Coinbase through Isle of Any studio. His illustration work has also appeared in prestigious publications such as The Economist, showcasing the versatility of his generative design approach across different media and contexts.
Despite his commercial success, Farmer emphasizes that the majority of his creative work stems from pure experimentation and play. "Whether it's drawing or using software, I love making without purpose and I create a lot in my spare time," he explains. "I think it's really important to make space to create work outside of real work." This dedication to personal creative exploration has resulted in a substantial body of work that he regularly shares on social media platforms.
After his creative stint in New York City, Farmer has returned to his home city of Melbourne, Australia, where he now works at a brand design studio. This new position has given fresh meaning to his personal creative projects, as he envisions potential applications for his experimental work. "I'm always kind of imagining that I could use these silly little things I put on Instagram in a thoughtful and fun brand system," Farmer notes optimistically. "Hopefully one day I will!"
Farmer's work represents a growing trend in digital design where artists seek to bridge the gap between technological capabilities and organic aesthetics. His success demonstrates how designers can create compelling visual narratives without traditional coding skills, using intuitive software tools to generate complex, nature-inspired animations that resonate with contemporary audiences seeking authentic connections in an increasingly digital world.
