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Structure: Foam Board

Here is the final structure that we have created from foam board. We were both happy with the outcome as it fit together practically perfectly and fit against the wall in the corner as planned. The seems and edges of the structure aren’t as clean as they could have been but for our first attempt using the foam board the structure was ideal to begin to project onto. 

Simplified Design

We were getting close to the final week by now and realized that we needed to find a new material to build the structure which was light weight and also easy to glue. We also tweaked the final design one last time to make some of the faces simpler. We canceled out using any sort of paper or card as this would just be too week and would not support the structure. We finally come to the conclusion on Foam Board. This was definitely a great choice as not only was it really light weight yet thick enough to glue together, it was much more flexible than the wood and we were able to stick together the back with masking tape instead of glue so we were able to adjust and make changes if we were not happy unlike before. We also decided to up the measurements on the structure in size so we had a bigger scaled version this time. 

Considering the amount of problems and set backs we had to over come to create the structure I was pleased with the final proto type that we had created just to show that for future references with more money and time, we would definitely be able to re create a similar structure on a much larger scale for a particular event or festival without too much hassle as we know what works now and what doesn’t. and that its definitely about the risk taking like we did by continuing to build the structure despite being told to come up with a new design. 

Structure: MDF Board

In the end despite being told by Aiden that the structure would be too hard to create using the laser cutter, we didn’t really have any other option so just went ahead with it anyway. We worked back into the structure using Sketch up to simplify the design and get it to as limited faces as possible but with it still having the same effect as before. The good thing about using sketch up is that you are able to get the exact measurements of the structure and also the scale so we were able to break down the individual faces and then re create them in illustrator to the exact measurements so we can then start to build. The only disadvantage with the laser cutter is that the maximum scale is 812.8 x 457.2mm which meant we couldn’t realistically make the structure on the large scale we would have liked it to have been for events etc. So this was going to be more of a pro to type to see if we would actually be able to put it together or not.

I made the decision to use 2mm MDF board, which at the time I thought would be a good idea as it was light weight so would be easier to stick together for support. However, with the edges being so thin it was near enough impossible to glue them together and was really fiddly and time consuming. Because of the angles we were not able to use any strong wood glue because it would have to dry instantly for us to build. Are only option really was a glue gun which definitely did the job well, however left a lot of dried glue on the frame of the structure which really did ruin the final outcome of the design.

We were unable to finish the wooden structure completely, as 3 of the final parts didn’t match up to scale as Zac must have accidently got the measurements wrong. But we decided that we wanted to sample the design using some other materials so we went back to the drawing board to come up with some new ideas. However, we were really impressed with ourselves for attempting and nearly succeeding at building the structure despite being told by several members of staff that we would not be able to do so. 

 

Illustrator Files

Here is a coloured version of our final design, we did this as it would make it much easier when constructing the piece as it had 19 faces all together so found it easier to piece together the different coloured sections then glue it all together. We also engraved a individual letter and number on each face so that we were able to match up each face on the laser cutter easily once we had cut them out individually. 

Final Design

After finally creating a final 3D design of a structure we both agreed on, we took it back to the metal workshop where this time we spoke to a different technician the older guy. He straight away looked at our design and told us that it was pretty much impossible to make, not only In the time scale we had but also the angles were too complicated and would be taking a big risk to attempt making it. Which was very frustrating to hear, as it wasn’t much more complicated that the designs I had previously already shown so felt like we had been contradicted.

Instead, we then spoke to Aiden in the laser cutter to see if there was any way in which he thought we would be able to create it using wood but instead laser cut. He also told us that it would next to impossible to create on the lazer cutter due to the straight cut of the machine, and the abstract geometric angles that we had used throughout the structure. This was again more bad news which left us feeling almost at a dead end.

We then went to the wood workshop where we had a lengthy chat with the technician and explained out problems that occurred. He said there was definitely a possibility that we could create the structure from wood but we would have to saw and sand down each individual angles ourselves for the structure to slot together perfectly. And with only just over two weeks left for the project, and the structure not being the most important part of our piece, it just seemed slightly pointless to attempt this huge challenge which we both had next to no experience in, and then not have time to create any visual imagery or 3D mapping which was suppose to be the main outcome of our collaboration.

Artist Inspiration: Jean-Michel Verbeeck

INNOVATES  
Audio visual light canvas installation that explores depth / perspective & illusions of perception. Like the title of the installation describes – this is a representation of the next step in human evolution – We call this ‘Innovates’ – People who try to innovate and create new paths and opportunities. With this installation Konstruktiv tries to inspire the audience with thoughts about their own perspectives and possibilities in life and about themselves as humans living in 2012.

Director: Jean-Michel Verbeeck 
Sound Design Installation: Jean-Michel Verbeeck 
Camera: Jean-Michel Verbeeck 
Soundtrack video: Kangding Ray

               
. / INNOVATES from Jean-Michel Verbeeck on Vimeo.

Structure Projection Inspiration

Shatter-
Simulating a shard of glass, this construction is dynamic in itself. It has the advantage of having the format of a conventional screen but without the heaviness that comes with it. The content is immediately split and punchy.

L / X: The geometric elements that compose it are arranged so as to create a curve simulating a wave as well as a propeller. Its great depth gives it a real sense immersive for the artist and the public.




http://www.wskvj.com/stage-design/

Sketch Up Designs

Zac recommended that we used Sketch Up which is a free 3D modeling software. We used this to start to create some structure designs. This was my first time ever using any sort of 3D software and was hard to get the hang of at first but could generate some really great structures after a few attempts. With Zac already having some previous experience in using this software it was a great advantage, and he was really good with the mathematical side and putting in the correct measurements so that instead of creating a structure at random it was to scale of how big we would actually be looking at to build. 
Some of the designs we drew up were definitely too ambitious and had far to many faces which would not only be time consuming in the small amount of time we had left to build the structure, but also to projection map onto. I feel like we have clearly shown how we have gradually refined the structure to a more simplified version with fewer faces, but still satisfied with the unusual geometric structure we hoped to create. 

Artist Inspiration: by Joanie Lemercier

Audiovisual installation by Joanie Lemercier

Painting, layer of projected light 

Inspired by the icelandic volcano, which wreaked travel havoc across europe earlier this year,

Joanie Lemercier presents the latest incarnation of its audiovisual mapping project Painted directly onto a large wall, a wireframed scenery is slowly revealed by gentle light effects.

The audience’s sense are progressively challenged as optical illusions question their perception of space.
•VISUALS:
•Joanie Lemercier
•Simon Geilfus (additional visuals)
•
•PRODUCTION: Nicolas Boritch

Projection Mapping Experimentation

Me and Zac both took a trip to Salford Quays as I thought this would be a great place to attempt some projection mapping, and also get some ideas and inspiration on structures, as I personally think Salford is perfect for this as its over flowing with unusual buildings and some great modern Architecture.
We hired out a mini projector from uni, and took with us our macs, tripods and video recorder. This was quite a great effort taking this amount of equipment so far away, and with the mini projector only having such a short battery span and being outdoors with no place to charge we were not satisfied with the amount of projection mapping we were able to get done. 
But this made us realistically think about future situations within our project, and what we are actually able to do with a projector in particular place.

Audio Visual Response Videos

Zac managed to successfully create codes in OpenFrameWorks to make the visual imagery audio responsive by feeding tracks in and the images responding to the various sounds within the track such as high low, kick drum high hats etc. I did really like the outcome of some of the videos, considering he had never created anything like this before and were definitely leading in the right direction. However, I felt like some of the track choices which were down to me were slightly unsuited to audio visual responsive as the imagery were just really too fast, and especially on a small scale to be mapped, could almost look like there is just too much going on. However I could see these working well on a large scale in a dark club in particular venues that would suit our criteria.

Looking at Audio

We had both started to look at different types of music, and what we think would be best suited to visuals. Zac himself was more into classical music still with an open mind.. However I was more towards Electronic and Techno. I felt like it would definitely be more appropriate to base our work around this genre of music just as it would be more beneficial to the particular nights and not only in Manchester but other events and festivals in general.

Metal Workshop Induction

After deciding it could be a good idea to build our structure from metal, I went to the metal workshop to be inducted on the machinery and to get a better understand on how things work and how we could attempt to build a structure frame and weld it together. I found this very useful as I haven’t really had many inductions this year and would be a great opportunity to experiment with different materials within mixed media and really take me out of my comfort zone doing something I have not done before. After the Induction I spoke to one of the Technicians who I shown a few images of some structure designs I had been previously looking at similar to something I would like to create to see if it would be possible to not only make from metal but in the few week time scale I had left. She told me that it could definitely be do able and to come back with a 3d structure design with some exact measurements so we could work out how big it would be.

Artist Inpiration: Gabby O'Connor

What lies beneath was installed as 3 site specific responses, depicting the submerged part of an iceberg. The first was at The City Gallery Wellington, NZ and was 12m x 4m x 2m and created to fit over a sky light of the same dimensions. The components for What Lies Beneath are made from dyed and lacquered tissue paper and are stapled together. What lies beneath is lit with natural light augmented by 6 x 3 foot fluorescent lights. The entire work fits inside a regular sized suitcase. The same parts were reconfigured and installed at the House of Waiwera in Auckland and 5 separate smaller bergs, What Lies Beneath – the return were installed at the North Wall in Oxford Uk.

Looking at Structures

After looking at particular artists work which inspired me and zac, it become clear on the style of structure we wanted to create. Which would be very geometric like and something that could stand freely or either in the corner of the room. We would like this to be on a fairly large scale, with many faces to project onto.

There was a lot more to consider than first come to mind when designing the structure, we had to think about the positioning as this would effect how many projectors we would need, from what angle, and how many sides/faces of the structure would be captured by the projector. And also the main factor, being what materials and processes would we have to use to construct this structure and have we given ourselves a realistic time scale to do this within.

Me and zac both sat down and started to think of materials that we thought would be best appropriate to create the structure. Our initial idea was creating the frame from wood and then filling the faces using some sort of white fabric, which was specifically good for projecting onto. However, we then realized it could take a long time to cut and drill all the individual pieces together whilst at the same time being mathematically challenging to get all the angles perfect and to scale for it to fit together.

We then come to the conclusion that it could be far more appropriate to use metal as it would not only be cheaper, but would be a lot easier to weld the pieces of metal together to get the particular angles that we would want.

Artist Inspiration: Kit Webster

 

Kit Webster often juxtaposes multiple visualization techniques to create experimental works and his sculpture Vertex is the latest to showcase this philosophy. It's a projection mapped abstraction that protrudes into its surrounding space, with the aim to "redefine its environment and create a sense of spatial unease".

Designed in Cinema 4D, with the content developed in Cinema 4D and After Effects, it was mapped using MadMapper. Made up of 33 facets the piece's surfaces can be completely illuminated using two projectors. Various video elements can be isolated for specific areas and alternating textures can be shown on different faces, along with "artificial shadowing derived from the CAD model [which] can be projected back onto its physical counterpart, raising the idea of the existence of a 2.5D ‘interdimension’.

Vertex’ experiments with the combination of digital and physical processes. Designed in a CAD environment, the work departs from the more formal geometric structures of my previous installations. Pursuing my interest in the relationship of spatial complexities, the main goal with this sculpture was to develop a shape that is clearly non-linear and apparently structurally unsound in its form. Protruding into its surrounding space, the piece aims to redefine its environment and create a sense of spatial convolution.

The sculpture seems to exist in a way that does not clearly position it within its space in a formal context. Made up of shards arranged to pierce the immediate surroundings, it appears fixed yet broken, conveying a sense of controlled ‘paused’ chaos. In this way, the form acts a sculptural adaptation to contemporary deconstructivist architecture. Through its geometric abstraction and acute angular properties, it suggests a metaphysical seepage of the form into its environment.

The work is shaped in a way so it can be fully illuminated with just two projectors. The process of ‘projection mapping’ allows multiple animated elements to be isolated to specific sections of the sculpture. By using this technique not only can the edges of the sculpture can be traced with light and alternating video textures applied to each of its individual faces but animations can seamlessly twist and flow in 360°. 3D elements such as Voronoi divisions, artificial lighting and shadowing derived from the CAD model can be projected back onto this physical counterpart, giving the appearance of digital skin and raising the idea of the existence of a 2.5D ‘interdimension’, a clear departure from the confines of the screen.

‘Vertex’ expresses my interest in the deep abstraction of form through the combination of 2D and 3D elements, and digital and physical dimensions, and how these realities are situated in relation to consciousness. It also explores what forms of interplay can exist between the physical, digital and mental aspects of what we do.

By creating an abstract sculptural work that includes these new types of software techniques, I am hoping the viewer can appreciate its aesthetics while simultaneously being curious about its origin, properties and meaning. This may lead to some consideration of the future potential for technological processes in fine arts, not only in the context of a gallery space but also in relation to the viewer’s own personal realm of consciousness.
 


 TERMINAL PROJEKT, VIVID SYDNEY

 
Kit uses alot of software and technolgies through out his work which I use myself of intend to use within this project. I find his work really inspiring and would say his style of work with the geometric structures and 3D projection mapping is definitely going to have a big impact in the development of my final piece.







 
  NRCH – KIT WEBSTER

 I was drawn to this particular installation by Kit as it reminded me of Carlos Cruz- Diez a previous artist that I have mentioned who inspired me visually due to the colour. This is definitely something I would like to achieve in the future using 3d Mapping, however is just unrealistic with the projectors we can hire out at the university, the pixels just arent good enough quality andwould not cover such a large scale.

Video Experimentations

OpenFrameWorks

openFrameworks is an open source toolkit designed for "creative coding". OpenFrameworks is written in C++ and runs on Windows, Mac OS X, Linux, iOS, and Android. Its emphasis on "creative" uses draws parallels to Processing as both projects present a simplified interface to powerful libraries for media, hardware and communication. openFrameworks's main difference from Processing is that it is written in C++, instead of Java. Users will find many similarities between the two libraries, for example what is beginShape() in Processing is ofBeginShape() in openFrameworks. The openFrameworks wiki includes an article for people coming to openFrameworks from Processing.

This is the Software that Zac will be using to create our own AudioVisual Responsive progam. 

Processing

Processing is a programming language, development environment, and online community. Since 2001, Processing has promoted software literacy within the visual arts and visual literacy within technology. Initially created to serve as a software sketchbook and to teach computer programming fundamentals within a visual context, Processing evolved into a development tool for professionals. Today, there are tens of thousands of students, artists, designers, researchers, and hobbyists who use Processing for learning, prototyping, and production.
 
Many previous visual artists work that I have been looking at usually have used Processing at some point through their work stage, it seems like the simplist for of programming language out there at the minute which would suit my visual art needs. I have just bought a Processing textbook which is a revised version from the first book back in 2009 that has been thoroughly updated, influenced by the seven years of Processing being taught in classrooms, computer labs, universities, and art schools, since the first edition. Every chapter has been revised, and new chapters introduce more ways to work with data and geometry. New “synthesis” chapters offer discussion and worked examples of such topics as sketching with code, modularity, and algorithms. I personally think that i wil gain a better understanding from sitting down with an actual step by step guide rather than watching videos and trying to figure out how to do myself.



This is a really big step for me within my work as I have never really worked with code before, apart from in Max MXP when using the Arduino Kits but that is on a much simplifed scale.  
I'm hoping that this will help me gain an understandance in our Callaborative work when Zac is creating the visual Imagery eventhough he will be using OpenFrameWorks.

After Effects Workshop

I have also been attending After Effects workshops with the Creative Multimedia group as this is a particular software which I wanted to use and develop from the last project. In this particular session learnt how to use vector points and use the time line for stop animation which enabled me to move imagery. I could imagine me using this within my work on the microscopic imagery to create some really interesting and usual effects.

Arduino Workshop

In my spare time I attended a few Arduino workshops with the Creative Multimedia students to recap my knowledge on the software. This was really helpful as I am unable to attend any workshops similar to this with being on a Textiles course and is beneficial as me and Zac would like to hopefully use Arduino within out final piece to create some sort of interactive installation. For example for the structure to be triggered by sound , or movement within the room to change particular visuals projected onto the structure.

Collaboration

I intend to create an Audio Visual Responsive Projection Mapped Installation in partner ship with Zachary Snow a fellow 2nd year MMU Creative Multimedia Student. I had approached Zac towards the end of the last project as I found we both had similar interests within the Audio Visual side to art and believed that a collaboration together could be very beneficial to both as he had a more advanced knowledge to the software side and I was able to produce the imagery that was going to be used within our work. 

We are going to create a structure that we are going to projection map on to, and are going to sample and experiment with materials to see which would be most suited to our needs to build the structure. To create the structure I’m going to learn how to use a 3d drawing software called Sketch Up which I have never used anything like before so will be a great challenge for me.

Zac is going to be creating his own Audio Visual Responsive Program using OpenFrameWorks that will generate and trigger visuals created from the Microscopic Imagery that I have previously been working on whilst still developing this further. Visuals will then be 3D mapped onto the final structure that will be responsive to audio of our choice.

As well as the challenge to create our audiovisual responsive software, we have set ourselves an even bigger challenge to also construct the physical installation. we intend to create the structure on 3D software, that will either be built out of wood, plastic or metal; using either woodworking tools, metalworking tools, the CNC machine or the laser printer. Which will also involve a lot of new inductions for me. We will firstly explore the 3d software and come up with a range of designs to show that we have experimented before achieving the final outcome. after testing and experimenting, we hope to create a true to scale physical construction that we can then begin to projection map onto.

While producing this project, we intend to develop a practice that will allow us to quickly experiment and produce visuals. As well as be able to advertise our selves to event organizers. In terms of the final program that will run these visuals, nothing has been definitely decided on and it could just run on openFrameworks or a collection of different software. We hope that our final outcome will be exhibited of some sort, so the work will be displayed via a projector and physical installation, which I believe will be much better for a viewer as you are able to really interact with the installation having speakers playing the music. However, We'll also produce videos of the final installation, to use as a portfolio and to advertise our work.

We are going to create a proto type installation of a structure that we are able to use to show to event organizers within Manchester and also at festivals across the country and so on. The aim is to enhance the overall experience of the event to you as an individual, combing the visual imagery to integrate within the music itself and how one another can compliment. Our target audience would me more specifically to electronic and techno nights across Manchester which I myself already have a lot of connections with promoters which are eagerly awaiting to see the final outcome as Manchester is currently crying out for this niche of art at venues and nights that I attend which is definitely at our advantage. 

We hope that the outcome of what we are able to create in such a short time span will help us gain opportunity for funding to then be able to re create on more of a larger scale with better quality materials and also explore more with hardware in the future which would still be suitable for a particular event. We will attract our target audience by specifically showcasing desirable tracks fitted to a particular event showcasing skills and the ability to create the audio visual content.

Resolume Videos

Microscope Induction

After doing a bit of research I discovered that at the University of Manchester they had the required Microscopes with the polarized light that I needed to use to capture the images. After emailing a few of the technicians there I was finally able to arrange a date for me to be inducted on the microscopes. This took several hours and I had to supply all my own slips and covers and the materials that I would like to look at. I was really keen on doing some similar processes with the alcohol that i had previously looked at on bev shots but the process wasn’t as straight forward as I thought it would be. I Would have to crystalize the alcohol myself which naturally can take a long period of time and after doing a lot of research on methods finally come to the conclusion that many scientists proposed that it could take up to 100 attempts before they captured anything visually inspiring. With the time limit in this project I just simply did not have enough time to take this risk as it wasn’t the major aspect of my project. Instead I just looked at different types of stones rocks and minerals that were ready available for me to use. Using the software was a lot harder that I expected it to be, especially using the polarized light. I was also disappointed with the outcome of the quality of the images and felt that most of them really did lack colour which was not the concept I was going for. I do think after editing some of the following photos though they are still visualy interesting but is highly unlikely that I will be able to develop the picture any further due to the lack of quality and would look un professional in my videos.

I would definitely like to use this technique again within a future project when I have a better time scale and more knowledge on the processes i can achieve. As the microscopes themselves were not cheap, paying by the hour up to £30 for particular ones, so I would have to have a definite idea of what I wanted to look at before I go in next time.

Photoshop Manipulation

Using a combination of the Illustrations I created, I then exported them into Photoshop to begin to manipulate the black and white imagery and layer up over some of my previously edited work. I like the almost 3D look you can get from these photographs due to the layered up textures which i think will work really well when i start to produce some videos.