Category: Uncategorized

I dunno. I took a nap and woke up and looked in the mirror and looked kinda stupid so I just kinda went with that. And I used a mix of black and white and random colors, I guess because I heard somewhere that men tend to dream in black and white and I had just woken up from that nap. So I was still kind of in the black and white world, but not entirely. Perhaps if I knew how to do gradients, I’d do something with that.

 

//Brian Bizier
//Section C
//bbizier@andrew.cmu.edu
//Project-01

function setup() {
createCanvas(601, 801);
background(255,255,204);
}

function draw() {
strokeWeight(3);
fill(255);
ellipse(301,401,601);
fill(0);
ellipse(203,303,75);
fill(0);
quad(407,270,570,270,423,420,501,270);
fill(31,255,40);
ellipse(301,551,200,150);
fill(255,30,42);
rect(321,351,40,40,15);
line(151,151,251,251);
line(401,251,481,221);
}

My face in ellipses. Even with 20 ellipses, I never came close. At the very least, there is a hint of a smile!

James_SelfPortrait

function setup() {
    createCanvas(200, 175);
    background(135);

}

function draw() {

    //hair
    fill(0);
    ellipse(100, 80, 115, 130);
    //neck
    fill(175, 135, 0);
    stroke(110);
    rect(70, 145, 60, 40);
    //face
    fill(175, 135, 0);
    noSmooth();
    stroke(110);
    strokeWeight(1);
    ellipse(100, 100, 100, 130);
    //lashes
    fill(0);
    noStroke();
    ellipse(75, 91, 25, 10);
    ellipse(125, 91, 25, 10);
    //more hair
    fill(0);
    noStroke();
    ellipse(100, 40, 75, 52)
    //eyes
    fill(222);
    ellipse(75, 93, 25, 10);
    ellipse(125, 93, 25, 10);
    fill(45);
    ellipse(75, 92, 9, 9);
    ellipse(125, 92, 9, 9);
    //nose
    fill(0)
    ellipse(95, 121, 10, 10);
    ellipse(105, 121, 10, 10);
    ellipse(100, 122, 15, 15)
    fill(200, 135, 0);
    noStroke();
    ellipse(100, 110, 10, 30);
    ellipse(100, 121, 15, 15);
    fill(200, 135, 0);
    noStroke();
    ellipse(94, 120, 10, 10);
    ellipse(106, 120, 10, 10);
    //mouth
    fill(0);
    noStroke();
    ellipse(100, 138, 30, 6);
    fill(175, 135, 0);
    noStroke();
    ellipse(100, 135, 30, 9);
    //ears
    fill(175, 135, 0);
    noStroke();
    ellipse(50, 100, 15, 30);
    ellipse(150, 100, 15, 30);



	

}

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.

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.

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

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);





   
}

Computer animations have always been inspiring to me. As a child, I was hypnotized by the worlds that were created from nothing. The project that pushed me to take this class is a Pixar animated short called “Piper”. “Piper” is the story of a baby sanderling learning how to find oysters. Through this short, Pixar has managed to created extremely life-like images as well as tell a story without words and in a short amount of time. “Piper” was created by various teams of writers and animators spearheaded by director Alan Barillaro. The strategy behind the creation of the characters is what really interests me. Instead of creating human-like attributes on animals, such as adding eyebrows, “Piper” uses exaggerated attributes to allow connection to the characters while keeping their animal-like figures. In order to do this, the team turned to nature for inspiration, following sanderlings and taking pictures. The attention to detail is also outstanding. There are 4.7 to 7 million feathers on each bird in the short. Nevertheless, this took years to create using innovative perspectives on existing technology like Maya. “Piper” brings forward the possibility of even more detailed and imaginative animated shorts in the future.

The hortum machina is a dynamic geodesic space frame driven by plant reaction to external stimuli. Plant trays at the core of the frame move outwards when the driving system detects plant need for light. The tray movement displaces the space frame’s center of gravity causing the frame to roll.

The hortum machina explores an organic engine for dynamism in the mostly static field of buildings structures. It portends a future of dynamic building elements.

The use of multiple sensors to measure the electrophysiological state of the plants and thereby trigger movement of the plant trays is impressive.

In its current state, however, it is still an unwieldy and unsafe prototype with no conceivable direct application.

The project makers based their creation on Buckminster Fuller’s 1968 publication ‘Operating Manual for Spaceship Earth’ about sustainable use and care of the earth’s finite resources; going further to explore interaction between people and nature.