rgroves – Looking Outwards 05

      

      

Richard Kolker’s series “Reference, Referents” reverses that convention of using photograph as references for paintings. Instead, he takes famous paintings and uses 3D digital modeling techniques to create synthetic photographs of what the original painters may have been looking at. This project is interesting because it asks the question – if an image is indistinguishable from a photograph, does that make it a photograph? His images are every bit as fabricated as the paintings he’s inspired by, but they are meant to look like reference material.

 .    

I particularly liked how he rendered Lazlo Maholy-Nagy’s A19, which is not a representational artwork and one would not assume that artist originally worked with a photograph. Kolker’s interpretation of the stripes as ribbons and the discolored area as a spotlight made me see the original work in a totally different way.

http://www.richardkolker.com/refref.htm

Ziningy1 – Looking Outward 05 – 3D Computer Graphic

Kazuma Morino’s project Build draws my attention immediately while I was browsing through the portfolios of the Computer Graphic World(CGW) website. Then I looked the artist up to find out more information about him. So Kazuma Morino is a Japanese computer graphic artist, who has received many awards in international competitions including SIGGRAPH and Ars Electronica. In the project Build, exhibited in the SIGGRAPH 2003 Art Gallery, many of the built structures in our contemporary urban landscapes are concatenations of pre-fab parts and standardized dimensions. I was specifically intrigued by his way of constructing the board 3D perspective from single building blocks. There is a strong sense of order and rigidity from the highly geometric shapes. Then, I also found the videos of this project(blow), which is even more dazzling from still images. The way of those building cubes distribute and recompose is just very pleasing to look at. I can kind of imagine that this is accomplished by algorithm that resetting the coordinates of each or multiple building cubes in the 3D space every time the variations occur.

karinac-LookingOutwards-05

Related image

I never completely understood what computer graphics was and how it could be applied to the fine arts. My whole life I thought that CGI (computer-generated imagery) only applied to generating the characters of famous blockbuster films, such as Avatar. I imagined everything else to be a product of built sets or live models and a green screen. However, after looking into more and more films, from Inception to I found that 3D computer graphics are much more extensive than simply creating the characters. I no longer hold that preconceived notion that computer graphics are solely confined to a specific industry.

The picture shown above is the end setting to Disney’s film, Maleficent. After reading multiple articles on CGI in films and watching videos of films’ production processes, I was in awe as I found that there were so many more uses for computer graphics in the film industry to create sets and images in place of actually physically constructing them. The most common software used in these types of films is called Autodesk 3dsmax. Otherwise, computer graphic designers tend to generate the algorithms themselves.

Image result for maleficent setting

serinal – looking outwards 05 (section C)

Pedro Conti is a Brazilian 3D computer graphics designer. Although he is much more concentrated in character design and development, I wanted to focus on his 3D work for a Philips commercial advertisement. What I really like about this project is that it borders on unpleasing to look at, but the pretty colors and the smoothness of the rendering say otherwise. I really admire Conti’s ability to visualize this slow motion explosion in an artistic manner. I’m not completely sure what the algorithm would look like, but you can definitely see that Conti is well refined in it.

I think it is an indication of his character design background because even the way that the fruit is render seems to have a personality of some sort and the way that it is handled with the splat seems to give it a lot of character.

link to his behance: https://www.behance.net/pedroconti

link to his website: https://www.pedroconti.com

link to website about pedro: http://www.creativebloq.com/3d/top-artists-follow-behance-11121367 

 

Sijings-lookingOutwards5

https://vimeo.com/158797096

SoN01R

Inspired by Andy Lomas’ Aggregation 2, I am interested in finding something using mathematical rules to construct natural forms. SoN01R is a real-time dynamic artistic data visualization and sonification of quantum fluctuations. SoN01R looks like a 2D graphic at first, as it revolves and changes through time, it becomes a 3D sphere where particles keep flying around it. The combination successfully created a three-dimensional scene. The project is created by Frederik De Wilde who studies fine arts, media arts and philosophy. My admiration of this project mainly came from the four different stages of SoN01R, which will be shown in the following pictures.

First Visualization Stage | 2015
Second Visualization Stage | 2015
Third Visualization Stage | 2015
Fourth Visualization Stage | 2015

For each visualization, SoN01R uses a real-time data from the Quantum Science Department in Australian National University. The method used here is to collect a physical quantum source first and then generate true random numbers in real-time which drive the audiovisual work. The final visualization is used Quantum fluctuation data, Processing, and Final Cut proX. The whole idea behind this project is to visualize something that is immaterial, short-lived, and universal. Watching the video, we seem to follow the transformation and to understand something that is very distant from our normal perception of moving/transforming objects.

FREDERIK DE WILDE AND FREDERIK VANHOUTTE

ashleyc1-Section C-LookingOutwards-05

Yoichiro Kawaguchi has worked in computer graphics since the 1970s and is known for creating 3D, generative, abstract models using an algorithmic formula he devised called the growth model. The formula is an attempt to replicate the organic shapes of shells, horns, plants and the like. His work is a unique integration of computer graphics, biological sciences and art. 

It’s hard to find information on the specifics of his projects as the websites showcasing his work seem to have been made in 2001 (aesthetics and design say a lot). But in general, he is inspired by the natural environments and he seeks to recreate these spaces through in-house programs and algorithmic processes to create a new 3D digital space.

Some of his more famous projects such as Tentacle Tower or Ocean elicit audience participation. Ocean, for example, is a 3D space that is warped by the movements of the person. This piece is to simulate the emotional element of dancing through a visual language. The environment that is warped is created through an algorithmic process where the computer starts with a shapes that generates and mutates based on the movements of a body.

http://doc.gold.ac.uk/creativemachine/portfolio_page/yoichiro-kawaguchi/

http://www.siggraph.org/artdesign/gallery/S02/onreel/Kawaguchi/1reelpreview.html

http://www.cgw.com/Publications/CGW/2005/Volume-28-Issue-6-June-2005-/SIGGRAPH-2005-Art-Gallery.aspx

jennyzha- looking outwards 05

http://www.miagui.cc/#/about/

*link to about page*

Focused on advertising images, Miagui is an creative production studio. Their main goals include creativity, quality, innovation, and stepping outside of the limits around the creative process.

Because of their goals, Miagui oftentimes will utilize CGI in their works, such as the attached, to create unique pieces for their clients. This is a point the studio is clearly proud of, seeing that as you flip through their different pieces, you may view the percent CGI that was involved in the creation of that work.

http://www.miagui.cc/#/work/67

*link to photo*

This particular piece for “Dentro Do Filme So Dentro Do Filme So,” uses only 30% per piece within this two-part work. My particular favorite part is how seamlessly they were able to integrate the hands into their surreal environments.

 

 

daphnel-Looking Outwards 05

Cambot-Memory

Dong Liang, designer of Cambot-Memory, is a 3D artist based in Singapore. A lot of his designs are created through Maya, Mari and Photoshop. Images like this greatly remind me of the various animated works I have seen in the past and it enthralls me when I actually get to see who is the one behind all of this. I love the fact that Liang bases his artwork based on a “story”. He says that every piece of artwork has its own story to tell and I think that just allows the finished creative to seem more alive and understandable. Liang starts off with making various sketches in order to obtain the image that he wants, he then moves on to blocking the sketch to make it 3D. Liang, however, did not use use the same manner of sketches and blocking in order to make the rain. He instead used a machine called an nParticle system to attempt to recreate a more realistic look of rain.

aranders-project-05

aranders-project-05

function setup() {
  createCanvas(480, 450);
  background(255, 255, 150);
  noLoop();
}

function draw () {
  animals(0, 0);
  animals(0, 150);
  animals(0, 300);
  animals(240, 0);
  animals(240, 150);
  animals(240, 300);
}

function animals(x, y) {

  push();
  translate(x, y);
  //panda
  fill(0);
  ellipse(10, 60, 12, 12);
  fill(0);
  ellipse(50, 60, 12, 12);
  fill(255);
  ellipse(30, 75, 47, 47);
  fill(0);
  ellipse(20, 75, 16, 12);
  fill(0);
  ellipse(40, 75, 16, 12);
  fill(0);
  triangle(25, 85, 30, 90, 35, 85);
  fill(255);
  ellipse(20, 75, 10, 10);
  fill(255);
  ellipse(40, 75, 10, 10);
  fill(0);
  ellipse(20, 75, 6, 6);
  fill(0);
  ellipse(40, 75, 6, 6);
  fill(255);
  ellipse(22, 75, 3, 3);
  fill(255);
  ellipse(42, 75, 3, 3);
  line(27, 93, 30, 90);
  line(33, 93, 30, 90);

  //bunny
  fill(209, 209, 224);
  ellipse(75, 60, 10, 40);
  fill(209, 209, 224);
  ellipse(105, 60, 10, 40);
  fill(209, 209, 224);
  ellipse(90, 75, 47, 47);
  fill(0);
  ellipse(80, 75, 12, 12);
  fill(0);
  ellipse(100, 75, 12, 12);
  fill(255);
  ellipse(82, 78, 3, 3);
  fill(255);
  ellipse(102, 78, 3, 3);
  fill(255);
  ellipse(102, 73, 5, 5);
  fill(255);
  ellipse(82, 73, 5, 5,);
  fill(255, 179, 217);
  triangle(85, 85, 90, 90, 95, 85);
  line(90, 90, 90, 93);


  //cat
  fill(255, 255, 220);
  triangle(128, 65, 128, 45, 145, 58);
  fill(255, 255, 220)
  triangle(155, 58, 171, 45, 171, 65);
  fill(255, 255, 220);
  ellipse(150, 75, 47, 47);
  fill(0);
  ellipse(140, 75, 15, 12);
  fill(0);
  ellipse(160, 75, 15, 12);
  fill(255);
  ellipse(163, 74, 7, 7);
  fill(255);
  ellipse(143, 74, 7, 7);
  fill(255, 179, 217);
  triangle(145, 85, 150, 90, 155, 85);
  push();
  strokeWeight(.75);
  line(130, 85, 143, 86);
  line(130, 89, 143, 87);
  line(132, 92, 143, 88);
  line(157, 86, 170, 85);
  line(157, 87, 170, 89);
  line(157, 88, 168, 92);
  pop();

  //bear
  fill(179, 217, 255);
  ellipse(230, 60, 14, 20);
  fill(179, 217, 255);
  ellipse(190, 60, 14, 20);
  fill(179, 217, 255);
  ellipse(210, 75, 47, 47);
  fill(0);
  ellipse(200, 75, 11, 11);
  fill(0);
  ellipse(220, 75, 11, 11);
  fill(255);
  ellipse(198, 74, 5, 5);
  fill(255);
  ellipse(217, 74, 5, 5);
  fill(0);
  ellipse(210, 87, 7, 6);
  line(197, 64, 205, 63);
  line(215, 63, 223, 64);

  fill(255, 204, 102);
  ellipse(30, 25, 15, 15);

  fill(204, 102, 255);
  ellipse(90, 25, 15, 15);

  fill(153, 255, 187);
  ellipse(150, 25, 15, 15);

  fill(255, 77, 77);
  ellipse(210, 25, 15, 15);

  fill(255, 204, 102);
  ellipse(30, 125, 15, 15);

  fill(204, 102, 255);
  ellipse(90, 125, 15, 15);

  fill(153, 255, 187);
  ellipse(150, 125, 15, 15);

  fill(255, 77, 77);
  ellipse(210, 125, 15, 15);

  pop();

}

I was inspired by an old t-shirt I had when I was little. I think the wallpaper came out really well and I might be getting better at programming!

afukuda-Project-05-Wallpaper


afukuda-project-05-wallpaper

/* 
 * Name | Ai Fukuda 
 * Course Section | C 
 * Email | afukuda@andrew.cmu.edu
 * Project | 05
 */ 

var diamondX // x-coordinate for diamond  
var x // horizontal line increment 
var y // vertical line increment 

function setup() {
    createCanvas(400, 480);    
}

function draw() {
    background(140, 164, 212);
    stroke(219, 242, 248);
 
    for (y = 0; y <481; y += 80) {        
        for (x = 0; x < 481; x += 80) {                

        // ODD COLUMN GEOMETRY 
            if (x%160 == 0) {                                     // calling only odd columns 
                line(x, y, x+80, y);                                 // array horizontal lines 
                line(x, y+40, x+40, y);                              // array top-left diamond lines 
                line(x, y+40, x+40, y+80)                            // array bottom-left diamond lines
                line(x+40, y, x+80, y+40);                           // array top-right diamond lines
                line(x+40, y+80, x+80, y+40);                        // array bottom-right diamond lines 
               
                
                for (diamondX = 0; diamondX < 41; diamondX += 8) {    
                    if (y%160 == 0) {                             // from odd columns - calling only odd rows
                      line(x+40, y, x+diamondX, (y+40)+diamondX);       // array fanning-left lines (fan down)
                      line(x+40, y, (x+40)+diamondX, (y+80)-diamondX);  // array fanning-right lines (fan down)  

                      // TURQUOISE TRIANGLE (BOTTOM)
                      push();
                      fill(193, 228, 221);
                      beginShape();
                        vertex(x, y);
                        vertex(x+40, y);
                        vertex(x, y+40);
                      endShape();   
                      pop();

                      // LIGHT BLUE TRIANGLE (TOP)
                      push();
                      fill(209, 226, 244);
                      beginShape();
                        vertex(x, y);
                        vertex(x, y-40);
                        vertex(x+40, y);
                      endShape();   
                      pop();
                    }

                    else {                                        // from odd columns - calling now even rows 
                      line(x+40, y+80, x+diamondX, (y+40)-diamondX);    // array fanning-left lines (fan up)
                      line(x+40, y+80, (x+40)+diamondX, y+diamondX);    // array fanning-right lines (fan up)

                      noFill();
                      ellipse(x-40, y, 138, 80);                        // array oval 
                      arc(x+40, y-40, 138, 80, 0, PI);                  // array oval (bottom-half)
                      arc(x+40, y+40, 138, 80, PI, 0);                  // array oval (top-half)

                      // TURQUOISE TRIANGLE (TOP)
                      push();
                      fill(193, 228, 221);
                      beginShape();
                        vertex(x+40, y+80);
                        vertex(x+80, y+40);
                        vertex(x+80, y+80);
                      endShape();   
                      pop();

                      // LIGHT BLUE TRIANGLE (BOTTOM)
                      push();
                      fill(209, 226, 244);
                      beginShape();
                        vertex(x+40, y-80);
                        vertex(x+80, y-80);
                        vertex(x+80, y-40);
                      endShape();   
                      pop();
                    }
                } 
            }

        // EVEN COLUMN GEOMETRY
            else {
                line(x, y+40, x+80, y+40);     // array horizontal lines 
                
                line(x, y, x+40, y+40);        // array top-left diagonal lines 
                line(x+40, y+40, x, y+80);     // array bottom-left diagonal lines 
                line(x+40, y+40, x+80, y);     // array bottom-right diagonal lines 
                line(x+40, y+40, x+80, y+80);  // array top-right diagonal lines 

                if (y%160 == 0) {                    // from even columns - calling only odd rows   
                    line(x, y-40, x, y+40);          // array left vertical lines 
                    line(x+80, y-40, x+80, y+40);    // array right vertical lines 

                    // ORANGE DIAMOND OFFSET (TOP)
                    push();
                    fill(253, 203, 167);
                    beginShape();
                      vertex(x, y);      
                      vertex(x+40, y-40); 
                      vertex(x+80, y);  
                      vertex((x+80)-(20/sqrt(2)-5), y+10); 
                      vertex(x+40, y-20);
                      vertex(x+(20/sqrt(2)-5), y+10);
                    endShape();
                    pop();
                    
                    // PINK ELLIPSE (TOP)
                    ellipseMode(CENTER);
                    fill(249, 200, 203);
                    ellipse(x+40, y+26, 20, 20);     
                }

                else {                               // from even columns - calling now even rows 
                    // PINK ELLIPSE (BOTTOM)
                    fill(249, 200, 203);             
                    ellipse(x+40, y-25, 20, 20);
                    
                    // ORANGE DIAMOND OFFSET (BOTTOM)  
                    push();
                    fill(253, 203, 167);
                    beginShape();
                      vertex(x, y);
                      vertex(x+(20/sqrt(2)-3), y-10);
                      vertex(x+40, y+20);         
                      vertex((x+80)-(20/sqrt(2)-5), y-10);
                      vertex(x+80, y);
                      vertex(x+40, y+40);
                    endShape();
                    pop();
                }
            }                                                 
        }
    }  

} // draw function end bracket                 

    



    



My wallpaper was inspired by this geometric pattern I came across while brainstorming for ideas. One thing I noticed upon completing the base of the pattern, was that while it does exhibit a degree of offset row by row, it still had a very strong vertical presence. In order to mitigate the verticality of the pattern I incorporated the overlapping ellipses to create a floral, petal-like design horizontally across the canvas. Finally I added some colors in specific moments to make the wallpaper stand out more.