Month: September 2022

Project 01 – Click on it!!

here is my portrait!

sketch
function setup() {
    createCanvas(800, 600);
    background(220);
    text("p5.js vers 0.9.0 test.", 10, 15);
}

function draw() {
    background(177,204,250); //blue
    strokeWeight(2);
    stroke(124,90,21); //hair color
    fill(164,114,34); //hair color
    rect(195,200,410,400);
    strokeWeight(3);
    stroke(210,180,140); //face outline color
    fill(255,228,196); //peach
    rect(300,450,200,300); //neck
    ellipse(400,300,400,500); //face
    stroke(124,90,21); //brow color
    strokeWeight(15);
    line(425,210,500,200) // eyebrow
    line(375,210,300,200) // eyebrow
    line(260,220,300,200) // eyebrow
    stroke(205,133,63); //nose color
    strokeWeight(4);
    line(410,270,412,380); //nose
    strokeWeight(4);
    line(390,270,388,380); //nose
    ellipse (386,380,15); //nostril
    ellipse (414,380,15); //nostril
    ellipse (400,384,25); //nose
    strokeWeight(0);
    fill(255,229,204);
    ellipse(400,370,20,30); //nose errase
    strokeWeight(0);
    fill(255,229,204);
    ellipse(400,378,35,10); //nose errase
    fill(255,255,255);
    stroke(0);
    strokeWeight(2);
    ellipse(330,260,70,40); //eye
    fill(255,255,255);
    stroke(0);
    ellipse(470,260,70,40); //eye
    fill(50,102,0); //green
    strokeWeight(0);
    circle(330,260,35);
    fill(50,102,0); //green
    strokeWeight(0);
    circle(470,260,35);
    strokeWeight(15);
    stroke(0);
    point(330,260); //pupil
    point(470,260); //pupil
    strokeWeight(0);
    stroke(240,120,120); //pink mouth
    strokeWeight(10); 
    noFill()
    arc(400,440,90,50, 0,
    PI); //mouth
    fill(255,192,203); //pink cheek
    strokeWeight(0);
    ellipse(300,350,120,80); //cheek
    fill(255,192,203); //pink cheek
    strokeWeight(0);
    ellipse(500,350,120,80); //cheek
    strokeWeight(2);
    stroke(124,90,21);
    fill(164,124,14);
    arc(430,280,400,500, 180, 0,
    PI); //hair right
    arc(380,290,400,500, 16, 175,
    PI); //HAIR LEFT
    strokeWeight(0);
    if (mouseIsPressed) {
        fill(255,228,196); //eye patch 
        ellipse(470,260,73,43); //eye patch
        strokeWeight(2);
        stroke(0);
        ellipse(470,260,70,40); //eye
        strokeWeight(0);
        fill(255,228,196); //eye patch
        rect(430,230,80,30); //eye patch
        strokeWeight(2);
        line(475,280,478,290); //eyelashes
        line(490,278,493,287);
        line(502,270,508,280);
        line(505,262,517,269);
        strokeWeight(0);
        fill(255,228,196); //mouthpatch
        ellipse(400,440,100,80);
        stroke(240,120,120); //pink mouth
        strokeWeight(10); 
        fill(255)
        arc(400,440,100,80, 0,
        PI); 
        line(350,440,450,440); //mouth   

    }

    }

Blog 01 – Technical Art – srauch

I continue to be inspired by the VFX in Stranger Things, which is done by Rodeo FX using (from what I could discern online) Maya for modeling and Arnold Core for rendering. The most recent season, according to VFX supervisor Julien Hery, was the product of about two years of work.

The Stranger Things VFX inspires me for a couple of reasons. For one, the monster design is spectacular; it enhances the storytelling significantly. Secondly, Stranger Things works to bridge the gap between practical and computer-generated effects, and they do a fantastic job of it. They use VFX in such an artful and compelling way to make creatures that are completely fictitious, but move in their environment in a very convincing way, enhancing the immersion and worldbuilding.

You can see one of their completely CG monsters in this scene:

The continued improvement of visual effects such as these will broaden the horizons of future filmmakers and storytellers, allowing them to elegantly depict what before could only be imagined.

LO: My Inspiration

Turning Red, 2022, Domee Shi
While much of what I will talk about in this blog post is applicable to large scale 3D animation projects as a whole, for this post, I will focus on “Turning Red”, a film recently released by Pixar. I think that one of the most inspirational (and relatable) facets of 3D animation is the time it takes to produce- of course earlier steps in the creative process in itself are time consuming, but even aspects of the pipeline that one might not even consider, like rendering, are extremely tedious. In animation, the rule of thumb is that 24 frames are shown per second of film, and at studios like Disney and Pixar, due to the amount of detail packed into each frame, rendering one frame is a process that takes about 24 hours. As a result, it is no surprise that Turning Red took four years to complete (a relatively quick turnaround for Pixar). While Autodesk Maya is the 3D animation software most commonly used for feature length films and games, Pixar uses its own software (what is, essentially, the in-studio version of Maya), called Presto. That being said, of course, through the course of production, in order to better capture life, usually animators will homebrew their own scripts, whether it is to better capture the bounce of curly hair (as with Brave), or further nail down the way water moves (as with Moana). This pattern is really interesting, as each film that gets released by major studios ends up not only being a (usually) well thought out story, but also, a display of new 3D animation technologies that push the medium forward. Recently, I have noticed that 3D animation is becoming more and more stylized (a trend I hope to see continue!), and I’m excited to see the new technologies that emerge with said stylization.

A fully rendered, edited, etc. still from Turning Red, 2022

LO: My Inspiration

PANDEMIC (2020-2022) is an in-progress 1st-person 3D simulation game where the player acts as a virus, experiencing an abstract version of the 2020 COVID-19 outbreak. An immersive art piece designed to commentate on the xenophobia and political turmoil brought forth by the pandemic, the game grows in intensity as the player progresses through the reality imagined by Chanhee Choi, a multidisciplinary interactive artist and Ph.D. candidate in the UW Digital Arts and Experimental Media department. PANDEMIC has been under development since 2020, and is set to release this year. The inspiration for the game stemmed from Choi’s personal experience with being the victim of an anti-Asian hate crime during the outbreak.

To create this unreal experience and environment, Choi used custom scripts to enable player control, created a multitude of 3D models as objects with unique in-game behavior, and programmed interactions with the player-controlled virus (I speculate that Unreal Engine was used to create PANDEMIC). She was possibly inspired by other immersive art games with the purpose of creating social commentary and raising awareness for real world problems that need mainstream discussion and attention.

https://chaneec.com/PANDEMIC

Chanhee Choi, 2020-present, PANDEMIC

project 01

My self portrait project!

sketch
function setup() {
    createCanvas(500, 500);
    background(249, 198, 187);
}

function draw() {
	background(249, 198, 187);
	strokeWeight(0);
	fill(239, 221, 199); //skin tone
	rect(200, 200, 100, 300); //neck
	fill(226, 189, 181); //skin shadow
	ellipse(250, 300, 110, 110); //neck shadow
	fill(249, 198, 187); //bg color to carve neck shape out
	ellipse(330, 385, 80, 320); //bg to carve neck shape (right)
	ellipse(170, 385, 80, 320); //bg to carve neck shape (left)
    fill(168, 142, 112); //hair color
    ellipse(250, 180, 250, 270); //back of hair
	fill(239, 221, 199); //skin tone
    ellipse(250, 200, 200, 250); //bottom of head/chin
    ellipse(250, 180, 200, 200); //top of head, to round out
    ellipse(150, 220, 60, 80); //left ear
    ellipse(350, 220, 60, 80); //right ear
    stroke(226, 189, 181); //ear x
    strokeWeight(4);
    line(130, 210, 155, 240); //L X
    line(135, 240, 150, 205); //L X
    line(370, 210, 345, 240); //R X
    line(365, 240, 350, 205);
    strokeWeight(0); //reset
    fill(168, 142, 112); //hair color
    ellipse(260, 100, 70, 70) //middle curl
    fill(239, 221, 199); //skin tone
    ellipse(274, 107, 55, 55); //skin to carve curl
    fill(122, 114, 105); //eyeliner color
    ellipse(200, 196, 55, 60); //L eyeliner
    ellipse(300, 196, 55, 60); //R eyeliner
    fill(234, 240, 247); //whites of eyes
    ellipse(200, 200, 55, 60); //L white of eye
    ellipse(300, 200, 55, 60); //R white of eye
    fill(113, 130, 154); //eyeball color
    ellipse(202, 200, 33, 33); //L eye
    ellipse(298, 200, 33, 33); //R eye
    fill(255); //eye highlights
    ellipse(190, 187, 15, 15); //L highlight
    ellipse(286, 187, 15, 15); //R highlight
    fill(168, 142, 112); //hair color (for eyebrows)
    ellipse(202, 150, 22, 10); //L eyebrow
    ellipse(298, 150, 22, 10); //R eyebrow
    fill(226, 189, 181); //skin shadow (for nose)
    triangle(250, 200, 235, 250, 265, 250);
    fill(186, 101, 101); //mouth color
    ellipse(250, 275, 35, 20); //mouth
    fill(250, 250, 242); //teeth color
    ellipse(250, 270, 30, 10); //teeth
    fill(103, 95, 130); //shirt color
    ellipse(250, 520, 250, 200); //shirt
    fill(129, 121, 156); //shirt collar color
    ellipse(250, 455, 115, 80) //collar
    fill(239, 221, 199); //skin tone
    ellipse(250, 445, 100, 70); //neck base
    fill(201, 199, 209); //for jewelry
    ellipse(145, 255, 10, 10); //L earring(s)
    ellipse(133, 246, 10, 10); //L earring(s)
    ellipse(130, 195, 10, 10); //L earring(s)
    ellipse(355, 255, 10, 10); //R earring(s)
    ellipse(367, 246, 10, 10); //R earring(s)
    ellipse(373, 232, 10, 10); //R earring(s)
    ellipse(237, 240, 10, 7); //nose piercing
    fill(125, 184, 144); //nose piercing jewel color
    ellipse(237, 240, 6, 4); //nose piercing jewel
}

project 01

here is my face(ish)

sketch
//Jaden Luscher
//Section A

function setup() {
    createCanvas(200,200);
    background(205);
    text("p5.js vers 0.9.0 test.", 10, 15);
}

function draw() {
  background(157, 102, 31)
  noStroke()

//blue: 2nd background color
  fill(40, 110, 154)
  quad(120,0,186.666,200,200,200,200,0);

//face
  fill(236, 196, 163)
  ellipse(120,100,120,150);

//eye
  fill(255)
  ellipse(100,90,40,20);
  fill(120, 50, 50)
  ellipse(100,90,20);

//lips
  fill(213, 152, 133)
  triangle(160,150,145,145,120,150)
  triangle(160,151,145,156,120,151);

//earring
  ellipse(55,177,10)
  ellipse(55,190,10)
  fill(40, 110, 154)
  triangle(50,170,55,120,60,170);

//black lines
  strokeWeight(2)
  stroke(0)
  noFill()
  line(120,0,160,120)
  line(160,120,145,125)
  arc(100,90,60,40,3.7,5.8,OPEN);

//glasses
  strokeWeight(5)
  stroke(115, 74, 21)
  ellipse(100,90,70)
  ellipse(175,80,40);

}

LO: Audio-reactive 3D visuals

Jaden Luscher
Section A

Struggling Asteroids / Stars Map
by Sabina Studio / Art and Technology

video demo of Sabina Studio’s audio-reactive Max patch

Struggling Asteroids is an audio-reactive video created by Sabina Studio
/ Art and Technology. She created the script “Stars Map” in Max Msp Jitter.

I love this project because it brings music to life in the form of a beautiful
morphing fabric-like form. This takes not only computational skill but also
a clear artistic vision. The resulting graphics are pulsing and complex, yet
imply a three-dimensional structure by the way the lines appear to stack.

By modifying some parameters in her script, the artist has created both
far-away and close-up views of these 3D modules. Close up, they look like sticks
and nodes (or like the toothpick and marshmallow models that kids make).
From far away, they resemble something like a topographic model or mapping of constellations.

link to patch and demos

Project 1

This is my self portrait, enjoy!!

sketch
function setup() {
    createCanvas(500, 515);
    background(220);
    text("p5.js vers 0.9.0 test.", 10, 15);
}

function draw() {
    background(random(0, 140), random(0,0), random(10, 140));
   
    strokeWeight(2)
    fill(206,116,144);
    triangle(246,313.5,0,515,500,515) //shirt

    strokeWeight(2);
    fill(255,242,172);
    triangle(347,428,299.4,379.6,271.5,442) //collar bone 1

    strokeWeight(2);
    fill(255,242,172);
    triangle(191.6,385,143.43,428.2,220.5,444) //collar bone 1


    strokeWeight(2);
    fill(255,242,172);
    triangle(143.43,428.2,347,428,246,490) //chest



    strokeWeight(.5)
    fill(206,116,144);
    ellipse(243.5,160,220,120) // hat 1

        fill(196,131,215)
    rect(129,158,230,100); // hair

    strokeWeight(4); 
    fill(255,242,172); 
    triangle(355,250,129,245,246,490); //jaw
    strokeWeight(4);

    // RELOAD THE PAGE FOR DIFFERENT COLORS!!!!
    fill(223,186,117);   
    triangle(281,293,197,292,241,231); //nose
   
    fill(223,186,117);
    triangle(225,243,175,174,129,242); // eye
   
    fill(223,186,117); 
    triangle(255,244.47,306,171,354,246); // eye

    fill(255,242,172);
    triangle(304,172,180,175,241,267.5); //bridge of nose

    fill(random(200,255),random(0,0),random(200,255));
    ellipse(307.81,218.91,60,25); //eye hole

    fill(random(200,255),random(0,0),random(200,255));
    ellipse(180,218.91,60,25); //eye hole
    
    fill(223,186,117); 
    triangle(255,210,306,171,354,210); // eyelid
    

     fill(223,186,117); 
    triangle(135,210,186,171,234,210); // eyelid


    strokeWeight(7)
    stroke(150)
    noFill();
    ellipse(307.81,218.91,90,50); //glass 1
    noLoop()

        strokeWeight(7)
    stroke(150)
    noFill();
    ellipse(180,218.91,90,50); //glass 2
    noLoop()

    line(225,218.91,262.81,218.91) //glass bridge
    
    
    strokeWeight(0)
    fill(random(50,150),0,random(50,150)); 
    triangle(199,313,273,314,234,373); // mouth

    stroke(1)
    strokeWeight(6);
    fill(206,116,144);
    triangle(234.5,198.5,350.5,160,137.9,160) //hat brim



   

}

Blog 1

A programmed artistic project that I find fascinating is Den.make, an independent project created by a software engineer in New York City. This engineer/artist uses creative coding and algorithmic art to make moving images that can resemble 3d meshes of geodes to 2-dimensional cells moving within a cramped space. When I first discovered this artist on instagram, I was enthralled by a video of a robot arm drawing in the contours of a complex mountainous valley. In other words, this initial interest came from my love of robots in science fiction creating pen and ink lineart, another thing I love. Now, as I’ve explored more of his work, what moves me more is the biophilic effect that this animated coded art has, particularly the cell-like animations. These images reflect on the nature of coding as the building blocks of technological life, just like the DNA in every functioning organism in nature. This art demonstrates how coding can mimic microorganisms, and perhaps create them in the future.

Blog 01: Rebuild the Original 1910 Penn Station!

By Ilia Urgen

Since the last decade, a national movement to rebuild the long lost McKim, Meade & White Pennsylvania Station has made me come to admire New York’s old 20th Century architecture.

This movement was founded by Richard Cameron and James Grimes back in the 2010’s. Their vision of improving New York’s current, run-down Penn Station was to rebuild the original station, which had opened in 1910 was demolished in 1963 to make way for Madison Square Garden.

Cameron and Grimes’s extensive blueprints are pretty much the same as the original ones from the 1900s, but they are still bringing a touch of the 21st Century into their designs. These modern enhancements include sustainable energy, solar panels, LED Lighting, and even a rooftop garden!

Their work was fully enhanced through the use of standard CAD software, which allowed them to visualize the original designs with their modern design features.

Cameron and Grimes are trying to grab the public’s support for this massive $2.5 billion dollar project. I definitely support this movement, as it focuses on preserving the cultural importance of 20th Century architecture, while enhancing “the works” with 21st century technology.