karinac-Project-05

karinac-Project-05

//Karina Chiu
//Section C
//karinac@andrew.cmu.edu
//Project-05

function setup() {
    createCanvas(500,500);
}
 
function draw() {
    background(138,0,45);

    //first set of boxes
    for (var y = 30; y < height-30; y += 90) {
        for (var x = 30; x < width-30; x += 90) {
            stroke(250);
            strokeWeight(10);
        	noFill();
            rect(x, y, 70, 70);
        }
    }

    //underneath layer of boxes
    for (var a = 50; a < height-80; a += 90) {
        for (var b = 50; b < width-80; b += 90) {
            stroke(250);
            strokeWeight(6);
            noFill();
            rect(a, b, 70, 70);
        }
    }
}

I wanted to create a wallpaper with simple geometric designs that are not too distracting. The hardest part I faced was trying to find the parameters for the loop.

Bettina-Project05-Wallpaper-SectionC

sketch

// Bettina Chou
// yuchienc@andrew.cmu.edu
// Section C
// Project 5 Wallpaper

function setup() {
  createCanvas(480,480);
  background("#8ca1d2");
  for (var y=0;y<7;y++) {
    if (y%2===0) { //every odd row
          for (var x = 0; x < 5; x++) {
              var ty=y;
              var tx=x;
              drawTriangles(tx,ty);
              drawTrianglesTwo(tx,ty);
              HorizontalLines(tx,ty);
              TearDrops(tx,ty);

          }
      }
      else {
        for (var x = 0; x < 4; x++) { //every even row
              var tx=x+.5; //shifts every other row to the right
              var ty=y;
              drawTriangles(tx,ty);
              drawTrianglesTwo(tx,ty);
              HorizontalLines(tx,ty);
              TearDropsTwo(tx,ty);
          }
      }
  }
  noLoop();
}

function TearDrops(tx,ty) {
  var TearCounter=random(3); //only draws about a little under half of the tears
  if (TearCounter>1.75) {
  fill("#728fc9");
      noStroke();
      push();
      translate((tx*100)+50,(ty*50)+random(50));
          beginShape();
          curveVertex(50,80);
          curveVertex(50,80);
          curveVertex(58,102);
          curveVertex(50,110);
          curveVertex(42, 102);
          curveVertex(50,80);
          curveVertex(50,80);
          endShape();
      pop();
  }
}

function TearDropsTwo(tx,ty) {
  var TearCounter=random(3);//only draws about half of the tears
  if (TearCounter>1.5) {
  fill("#728fc9");
      noStroke();
      push();
      translate((tx*100)-random(10,50),(ty*50)+random(70));
          beginShape();
          curveVertex(50,80);
          curveVertex(50,80);
          curveVertex(58,102);
          curveVertex(50,110);
          curveVertex(42, 102);
          curveVertex(50,80);
          curveVertex(50,80);
          endShape();
      pop();
  }
}

function drawTriangles(tx,ty) {
  noFill();
  stroke("#ffefbd");
  strokeWeight(2);
  push();
  translate(tx*95,ty*65);
  triangle(50, 25, 65, 47, 35, 47);
  pop();
}

function drawTrianglesTwo(tx,ty) {
  noFill();
  stroke("#ffefbd");
  strokeWeight(2);
  push();
  translate(tx*95,(ty*65)+10); //draws the second in the pair that's translated in the y-direction
  triangle(50, 25, 65, 47, 35, 47);
  pop();
}

function HorizontalLines(tx,ty) {
  noFill();
  stroke("#194e93");
  strokeWeight(3);
  var lineCounter=random(3); //only draws about less than half of line groups
  if (lineCounter>1.85) {
  push();
  translate((tx*80)-20,(ty*60)-random(10,20));
  line(65,70,110,70);
  line(50,80,80,80);
  line(95,80,120,80);
  line(85,90,105,90);
  pop();
  }
}

I was inspired by the chilly fall evenings to create a pattern that symbolized the weather. I first sketched a variety of geometric and organic shapes in illustrator and developed a color palette. I simplified the shapes to create more abstract representations of rain, stars, and clouds. Wanting to create something aligning with the characteristics of code (as opposed to trying to “pixel-push”) I realized that mathematical patterns are a key speciality of code. I was inspired by the assignments to create a pseudo-hexagonal grid for all of my elements, and added random omissions and translation variations using conditionals. (try refreshing, the pattern will vary each time!)

ablackbu-LookingOutwards-05

Jonathan Zawada

Jonathan Zawada is a graphic designer who is responsible for the cover artwork and graphics for Flume’s “Skin” album. He creates these moving 3D animations using algorithms.

If you have not seen these incredibly amazing graphics, here is a video of what they can do:

Zawada in a short video explains his process of using little algorithms to create the appearance of each petal and the fractal growth factor that really makes this not just some nature advertisement.

The thing I found so cool about this project is how he states how easy it would be if he were just to paint these, but he feels that this is cheating.

“There is something real about plugging in the numbers and that feels real.”

Something about his process makes these look so real but so unimaginably complex and mesmerizing.

 

I can truly see the artist’s feelings and concept of reality manifesting in the artwork. It is interesting to take the flowers out of a musical context and relate to what is actually happening in the artist life.

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

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.

afukuda-LookingOutwards-05

Persona in Fields 

Persona in Fields by Sherban Epure is a series of inkjet prints that fuses mathematical rules, fine art and technological capabilities to produce visual metaphors. It is a part of his collection of computer-executed, mathematically-based work. The fascinating aspect of this particular work (P211_181_neg of the series), is that it is an aesthetically-pleasing piece of work comprised of mathematical components that were computationally programmed. And because it was computationally programmed, it allows for alterations in the various stages of the work without any of the other stages being affected.  This cannot be achieved in conventional paintings, where once a layer of paint and/or detail has been placed on the canvas it would be impossible to alter that ‘stage’, and the final stage of the work is displayed. Without a more specific description from the artist it is hard to gather what mathematical theories and what form of computational manipulations were incorporated to produce this artwork, but the general nuance of the creation process is described as aforementioned. Epure also has a series of hand-executed work based on mathematics in which he attempts to convey that incorporating computational aspects in the production of art does not diminish the value and/or interest of the work.

Link | http://sherban-epure.com/Meta-Phorms-A/Computer_executed_mathematically_based_work/Pages/Persona_in_Fields_2001-2003.html

Work | Sherban Epure, 2001-2003

abradbur – Looking Outwards-05

 

The first in Antoine Magnien’s series of melting wax figures for Amnesty International.

When searching the web for 3D art, I came across the online portfolio for Antoine Magnien, and found it filled with beautiful examples of CGI art. His personal projects as well as advertisement work were on display. My favorite series of his that I found would be the series he did for Amnesty International in 2013. It is an untitled series of figures seemingly constructed from melting wax. The images portrayed are haunting and gorgeous, and the use of material like that is awe inspiring. It looks like these could be photographs of real sculptures, but they aren’t.

A melting electric chair.
Taking aim.
Are they pulling the noose down, or stringing it up?

Here is the small portfolio.

Here is his website, but it’s all in French.