Month: September 2016

Diana Connolly – Self Portrait

dconnoll-01

// Diana Connolly
// Section C, Tuesdays at 1:30
// dconnoll@andrew.cmu.edu
// Project-01

function setup() {
    createCanvas(600, 500);
}

function draw() {
	background(187,245,180);
	


	//Hair
	fill(102, 64, 46);  
	noStroke();  
	rect(150, 40, 300, 400, 150, 150, 0, 0);

	//Face
	fill(220, 154, 122);  
	noStroke();  
	ellipse(300, 237, 255,325);

	//Right Bang
	fill(102, 64, 46);  
	noStroke();  
	arc(450, 59, 260, 320, PI/2.0, PI, OPEN);
	fill(102, 64, 46);  
	noStroke();  
	arc(320, 180, 240, 240, PI+PI/2.2, PI/8.6, OPEN);

	//Left Bang
	fill(102, 64, 46);  
	noStroke();  
	arc(150, 59, 345, 320, 0, PI/2.0, OPEN);
	fill(102, 64, 46);  
	noStroke();  
	arc(289, 180, 240, 240, PI-PI/9.8, PI+PI/1.6, OPEN);

	//Ears
	fill(220, 154, 122);  
	noStroke();  
	ellipse(167, 245, 60,60);
	fill(220, 154, 122);  
	noStroke();  
	ellipse(432, 245, 60,60);

	//Nose
	fill(205, 138, 107);  
	noStroke();  
	ellipse(300, 257, 25,75);
	fill(205, 138, 107);  
	noStroke();  
	ellipse(300, 287, 45,23);

	//Mouth
	fill(181,83,70);
	arc(300, 330, 80, 40, TWO_PI, PI, OPEN);

	//Eyes
	fill(0);  
	noStroke();  
	ellipse(230, 237, 25,35);
	ellipse(370, 237, 25,35);




}

For this piece, I wanted to mimic flat design with simple shapes and blocks of color. I began with the head and hair, and added in more feature details as I went along.

Sofia Syjuco Looking Outwards-01

Do Not Touch
Studio Moniker
do not touch

Do Not Touch is an interactive, crowd-sourced music video that is constantly re-created and regenerated every hour. Studio Moniker, a team of ten people, created this video as the backdrop for the song Light Light by Kilo. Although the team that created it is quite small, the number of participants who make its continuous evolution possible is over four million. It took, on-and-off, one year to make this project, which was coded in javascript.

A work that served as the primary inspiration for Do Not Touch was a video recording of the game “Nemesis.” The video had many recordings of the same level overlaid atop one another, with more and more recordings stacking until one recording showed the player finally beating the level.

This project points to a future in videos (not only just music videos, but perhaps movies as well) that depend on viewer interaction to tell a story. A story that can change with every telling, as each new participant brings something new, but always holds true to some constants – because those who are interacting and changing the story in minute ways share common human experience and instincts.

Kyle Lee Self Portrait

kdlee-project01

function setup() {
    createCanvas(600, 600);
    text("p5.js vers 0.5.2 test.", 10, 15);
    background(255)
}

function draw() {

    noStroke();
//CIRCLE
//    fill('#BCE8F9'); TEST BLUE
//    fill('#A5C8F1'); TEST BLUE
    fill('#CDE9F3'); //BLUE VIGNETTE
    ellipseMode(CENTER);
    ellipse(300,300,300,300);

//HAIR
    fill(0);
    ellipseMode(CORNER);
    ellipse(270,200,80,70);
    ellipse(250,240,30,30);
//HAIR STRAND
    noFill();
    stroke(0);
    strokeWeight(1.5);
    arc(267, 200, 10, 40, HALF_PI, 0+PI);
    arc(250, 234, 20, 20,HALF_PI+PI,0);


    noStroke();
//NECK
    fill('#D1A773');//DARK SKIN TONE
    rect(285,350,30,50);

//FACE
    fill('#F0C084');//SKIN TONE
    ellipseMode(CENTER);
    ellipse(width / 2,height / 2,100,150);

//EARS
    fill('#F0C084');//SKIN TONE
    ellipseMode(CENTER);
    ellipse(250,300,10,30);
    ellipse(350,300,10,30);

//SHIRT
    fill('#354053');//BLUE
    arc(300, 405, 75, 50, PI, 0);
//BUTTONS
    fill(240);
    ellipse(300,385,3,3);
    ellipse(300,395,3,3);

//MOUTH
    noFill();
    stroke(1);
    strokeWeight(4);
    arc(300, 335, 25, 12, 0, PI);

//EYES
    noFill();
    stroke(1);
    strokeWeight(4);
    arc(315, 285, 10, 2, PI, 0);
    arc(285, 285, 10, 2, PI, 0);

    noloop()
}

Since I currently only have a basic vocabulary of code to create shapes and draw, I spent a lot of time abstracting the form of the face to be as simple as possible. I tried to look at what basic features of the face (and mine in particular) make the drawing recognizable as a human face belonging to me.

ntroutma- project- 01- Face

A01- face


//Nicholas Troutman
//15.104 section C
//ntroutma@andrew.cmu.edu
//Assignment-01

function setup() {
    createCanvas(600, 800);
}

function draw() {
	background("#FAFCFC");

	noStroke();

//face

	fill("#E3BA8A");

	beginShape();
		vertex(125, 340);
		vertex(175, 430);
		vertex(150, 550);
		vertex(100, 450);
	endShape();

	beginShape();
		vertex(300, 465);
		vertex(400, 430);
		vertex(350, 500);
		vertex(265, 560);
	endShape();

	beginShape();
		vertex(320, 360);
		vertex(340, 370);
		vertex(330, 450);
		vertex(315, 430);
		vertex(315, 420);
		vertex(300, 405);
	endShape();

	beginShape();
		vertex(335, 345);
		vertex(335, 355);
		vertex(380, 365);
		vertex(395, 385);
		vertex(420, 405);
		vertex(435, 350);
	endShape();

	beginShape();
		vertex(295, 180);
		vertex(320, 190);
		vertex(375, 220);
		vertex(435, 310);
		vertex(435, 260);
		vertex(385, 200);
	endShape();


	ellipse(105, 315, 55, 110);

//mouth and nose

	fill("black");
	angleMode(DEGREES);

	rotate(15);

	fill("#BD4A5F");
	ellipse(350, 425, 75, 55);

	fill("black");
	ellipse(350, 420, 75, 45);

	rotate(345);

	noFill();
	stroke(0);
	strokeWeight(3);

	curve(100,500, 230,430, 250,425, 450,420);

	noStroke();

//eyes

	fill("#DFEDF5");

	ellipse(383, 376, 45, 27);

	fill("#80B6D1");

	ellipse(230, 335, 23, 23);

	ellipse(385, 375, 23, 23);

	noFill();
	stroke(0);
	strokeWeight(3);

	curve(185,360, 185,305, 225,310, 225,330, 240,350);

	curve(345,380, 345,365, 380,355, 385,355, 385,375, 400,420);

//eyebrows
	noStroke();
	fill("#DBC900");

	beginShape();
		vertex(190, 280);
		vertex(220, 275);
		vertex(265, 300);
		vertex(265, 305);
	endShape();

	beginShape();
		vertex(350, 342);
		vertex(420, 325);
		vertex(440, 355);
		vertex(410, 342);
	endShape();


//hair

	fill("#DBC900");

	beginShape();
		vertex(145, 150);
		vertex(220, 175);
		vertex(140, 275);
		vertex(115, 250);
	endShape();

	beginShape();
		vertex(160, 145);
		vertex(250, 100);
		vertex(240, 175);
	endShape();


	beginShape();
		vertex(270, 90);
		vertex(390, 120);
		vertex(380, 190);
		vertex(250, 170);
	endShape();

	beginShape();
		vertex(0, 0);
		vertex(0, 0);
		vertex(0, 0);
		vertex(0, 0);
	endShape();

	noFill();
	stroke("#DBC900");
	strokeCap(SQUARE);
	strokeWeight(20);
	curve(200, 600, 400, 190, 500, 330, 200, 800);

	noStroke();
//shirt

	fill("black");

	beginShape();
		vertex(220, 600);
		vertex(355, 500);
		vertex(360, 580);
		vertex(230, 685);
	endShape();

		beginShape();
		vertex(65, 515);
		vertex(85, 600);
		vertex(65, 675);
		vertex(45, 575);
	endShape();

	noLoop();

}

I wanted to make this portrait as recognizable as possible, so I began with a sketched portrait, and spent my initial time designing and distilling shapes, abstracting as I went. Colors were picked to accentuate features and give a more cartooned aesthetic.

IMG_7305

IMG_7311

IMG_7310

ntroutma- LookingOutwards- 01

2489281806797d1a81255f7e5405d13c

I was having some difficulty finding a single work to discuss, so I thought I would bring up Sean Ahlquist’s Process2. This is a- currently in progress- series of material studies (which double as interactive sculpture) focusing on fabrics based tensile structures. Fabric is one of the oldest and most understated materials, one which is still used globally for everything from clothing (okay thats obvious) to shelters, transport, packaging, and even space exploration. Utilizing advanced digital simulations in hand with CNC knit fiber, Ahlquist has been able to rethink woven textiles, dictating the pattern and function of both synthetic and natural fibers to study spatial and physical functions of high tensile, full tension building- which is to say, a structure which is created and maintained by acting forces. Aside from sculptural implications of light and soundscape, this technology presents possibility for use in full-scale interior and exterior building systems, as well as in temporary structure.

I initially discovered this work last march after seeing some of Ahlquist’s fabricated textile work while touring the Tubman School of Architecture. I was fascinated to say the least. This later inspired me to begin investigating temporary structures, and more recently, full tension systems. This work appeals to me in both originality and in its potential to found a new branch of materials engineering in the wake of the high data intensity permitted through computational design combined with advanced production methods and fiber testing.

Below we also have a slightly outdated but still nifty interactive webpage listing some of his work, a Facebook page, and an aesthetic Instagram feed.

cellular-membrane_2

ahlquist-image-00

http://www.proces2.com
https://www.facebook.com/researchMC/
https://www.instagram.com/sean_ahlquist/

Jiyoung Ahn-Looking outwards-01

This video absolutely fascinated me when I first saw it. Colorful and sophisticated effects looks so real, and different dance moves show different effects more lively. I think the language of dance move really works well to show creativity and technical skills at one time. This awesome video is created by Motion graphic/ animation studio ‘Method Design’ which is based in New york.

This video is executed for ‘AICP(Association of Independent Commercial Producers’  and this video is a intro video for AICP. This was directed Rupert Burton. It is really amazing that Method Design studios delivered this video in two months with a core team of only three people, with 3 part-time workers.

Because there are so many different effects showing, they mostly used Houdini software program to create this video. I would say this video is the evidence of successful use of Houdini program. This reel includes not only motion capture skill but also dynamic effects and animation simulations.

 

Jess Medenbach Looking Outwards-01

AlterBahnhofscreengrabblur

The Alter Bahnhof Video Walk was designed for the old train station in Kassel, Germany as part of dOCUMENTA (13). Participants borrow an ipod and headphones and go to the abandoned train station where they then watch a film on their phones that takes place in the abandoned space they are standing in.

What I think is really effective about this piece is that the uncanniness of the event brings up a lot of thoughts about memory of experiences, as well as memory of places, and how a space contains many past and present happenings within it.

The project could be more effective if in addition to the ipod there are other interactive elements within the space…such as actors or objects that bring the participant even more into the world of the story and the nostalgia of the piece.

It’s unclear the exact influences for this piece but the experience seems to be inspired by immersive theater pieces such as Sleep No More, as well as site specific video installation, as well as traditional historical art walks.

Looking Outwards “Infinite Space” -sehenry

This article peaked my interest in design and raised it to a new level. Art that is made by technology can sometimes be superseded by the fact that its clear that technology is behind the experience. One of the owners of Nonotak Studios, Takami, talks about how their light sculpture, “Infinite Space” is meant to immerse a person in art and in a state of fascination so that it is hard to imagine that technology is behind the sculpture. Takami and his partner, Noemi, have been trying to relate architecture, space, and sound, and fuse them into one piece of art. There seems to be 3 people working on the project currently along with Toyota and the Creators Project as well as a team of engineers. The things they used to put the piece together was a mixture of custom software scripts and probably some of the “off-the-shelf” software. The development of this project shows that the evolution of technology may well break the barrier between reality and the virtual. Currently they have one prototype called ‘Plume Version One’. Although I am unsure what they may have been influenced by to make this sculpture, it is still so fascinating to see that people are taking steps to do what many don’t try and can’t imagine.

Jess Medenbach Self Portrait

For this project, I just started out making shapes and experimenting with colors that resonated with me. Especially because I’m new to processing, I decided to let the process of creating a self-portrait guide itself through more abstract imagery, allowing what I was making to reflect the self portrait as opposed to trying to do something more figurative.

jessportrait

function setup() {
    createCanvas(600, 600);
}

function draw() {
	background(120,180,180);
	fill(255);
	ellipse(300,300,450,450);
	fill(255,162,164);
	ellipse(300,300,250,300);
	fill(255,255,202);
	triangle(30,75,58,20, 86,75);
	triangle(130,175,158,120, 186,175);
	triangle(230,275,258,220, 286,275);
	triangle(330,375,358,320, 386,375);
	triangle(430,475,458,420, 486,475);
	triangle(530,575,558,520,586,575);
	stroke(0);
	strokeWeight(10);
	line(600,80,325,600);
	line(600,20,225,600);
	line(450,18,200,580);
	fill(0);
	ellipse(300,300,50,50);





   
}

GraceSimmons-Project01-Face

sketch

function setup() {
    createCanvas(600, 600);
}

function draw() {
	background(245,198,213);
    fill(202,148,92);
    stroke(202,148,92);
    strokeWeight(3);
    rect(136.3,246,170,300); //hair rectangle left
    ellipse(250,235,227,220); //hair blob left
    rect(300,271,172,300); //hair rectangle right
    ellipse(338,255,270,300); //hair blob right
    
    fill(255,72,100);
    stroke(255,72,100);
    strokeWeight(5);
    rect(230,450,138,200); //neck
    rect(89.7,555,421.7,100); //main shoulder block
    ellipse(200,550,219,100); //shoulder hump left
    ellipse(403,551.4,218,100); //shoulder hump right
	fill(255,226,206);
	stroke(255,226,206); //outline for all circles in face
	strokeWeight(4);
    ellipse(300,300,275,350);
    fill(255,226,206); //ear fill
    ellipse(162,300,50,75); //left ear
    ellipse(440,300,50,75); //right ear
    fill(255,193,193); //cheek color
    ellipse(226,340,90,90); //left cheek
    ellipse(375,340,90,90); //right cheek
    fill(255,226,206); //chin color - same as skintone
    ellipse(300,425,115,115); //chin circle
    
    fill(202,148,92);
    quad(200,245,215,230,260,230,280,245);
    quad(320,245,345,230,390,230,402,245);
    fill(202,148,92);
    stroke(202,148,92);
    strokeWeight(3);
    triangle(274,126,360,111,455,265);
    triangle(155,179,163,258,268,127);
    fill(255); //eyeball white fill
    stroke(255);
    strokeWeight(4);
    ellipse(240,268,50,25);
    ellipse(360,268,50,25);
    fill(83,75,44); //eye line
    stroke(255,226,206);
    strokeWeight(.5);
    ellipse(240,284,60,17);
    ellipse(360,284,60,17);
    stroke(0,129,172);
    strokeWeight(4);
    ellipse(241,270,20,20); //eye circle little
    ellipse(360,270,20,20);
    fill(255,226,206);
    stroke(255,226,206);
    strokeWeight(3);
    ellipse(240,287,60,10);
    ellipse(360,287,60,10);
    fill(202,148,92);
    stroke(202,148,92);
    strokeWeight(3);
    
    fill(255,196,170);
    stroke(255,196,170);
    strokeWeight(3);
    triangle(280,375,300,300,320,375); //nose
    fill(202,148,118); //nostril fill
    stroke(255,196,170);
    strokeWeight(6);
    ellipse(315,370,14,14); //right nostril
    ellipse(285,370,14,14); //left nostril
    fill(255,70,105);
    stroke(255,70,105);
    strokeWeight(3);
    ellipse(285,410,33,25); //lip bud
    ellipse(315,410,33,25); //lip bud
    fill(250,124,139);
    stroke(250,124,139);
    strokeWeight(3);
    quad(268,410,275,425,325,425,332,410); //bottom lip
    
    fill(232,172,96);
    stroke(232,172,96);
    strokeWeight(3);
    ellipse(200,350,5,5);
    ellipse(215,330,5,5);
    ellipse(205,320,5,5);
    ellipse(220,360,5,5);
    ellipse(243,318,5,5);
    ellipse(233,330,5,5);
    ellipse(227,310,5,5);
    ellipse(400,350,5,5);
    ellipse(390,340,5,5);
    ellipse(360,320,5,5);
    ellipse(370,345,5,5);
    ellipse(395,323,5,5);
    ellipse(405,329,5,5);
    
    fill(165,116,77);
    stroke(165,116,77);
    strokeWeight(5);
    line(462,360,462,505); //start of right dark hair lines
    line(450,385,450,501);
    line(435,420,435,498);
    line(420,435,420,498);
    line(405,445,405,497);
    line(390,455,390,497);
    line(378,465,378,497);
    line(145,360,145,503); //start of left dark hair lines
    line(156,385,156,500);
    line(170,420,170,496);
    line(185,435,185,495);
    line(198,445,198,495);
    line(210,455,210,495);
    line(220,465,220,496);

    noLoop();
}

My goal from the beginning was to use the basic shapes in a way that would be interesting, rather than just boringly simple. I tried to stay within a color family of neutrals and pinks, and I mainly used ellipses for consistently round edges. My process was building upwards from the hair at the very back layer, to the face and the facial features, and finally some of the last detail elements like freckles and strands within the hair.