DXARTS

Design Process Final

Wed, 14 Sep 2011 22:58:49 -0400

Design Process Final

Wed, 14 Sep 2011 22:58:19 -0400

Design Process Final

Wed, 14 Sep 2011 22:57:01 -0400

Design Process Final

Wed, 14 Sep 2011 22:56:11 -0400

Design Process Final

Wed, 14 Sep 2011 22:55:11 -0400

Design Process Final

Wed, 14 Sep 2011 22:54:23 -0400

Design Process Final

Wed, 14 Sep 2011 22:53:18 -0400

Design Process Final

Rhino Series # 3: Sculpture and Box View

Wed, 14 Sep 2011 00:00:42 -0400

Rhino Series # 3: Sculpture and Box View

Rhino Series # 3: Labeled Size and Material

Tue, 13 Sep 2011 23:59:28 -0400

Rhino Series # 3: Labeled Size and Material

Maquette Series #3

Tue, 13 Sep 2011 23:57:28 -0400

Maquette Series #3

Sketch Series # 3

Tue, 13 Sep 2011 23:56:29 -0400

Sketch Series # 3

Redesign 2

Tue, 13 Sep 2011 23:55:26 -0400

For this redesign I did some more refining and creating of clear explanations opposed to a full revision. From the discussion it was brought up that the “eyes” were extremely big. I did that on purpose, but looking back at my second Rhino design I decided I wanted the “face” to be smaller and more proportional to how a real head would look next to a body. So I kept the “face” the same, but I scaled it down.

The first thing I did when I started my third series of sketches was I drew the before and after of my scaled-down “face”. I wanted the whole sculpture to be around the same height as an average person, so I kept the body as four feet. But as I said before, I wanted to make the “face” smaller. In the last Rhino design I had the “face” be around two feet, but for this one I wanted to make it be one foot. After I sketched them and looked at them side by side I realized I liked the look of the smaller one a lot more. It wasn’t as overpowering, but it still seemed like it would grab the attention of the viewer. I also did a sketch to show how I would attach the wires. I made holes through the solids I wanted to hang, so that there would be a way to put it all together when it was printed.

For the third maquette I adjusted and revised my maquette from the second series to make a new one. I made the “face” smaller like I did in my sketch, I also cut the toothpicks so they did not show as much. Then i bent the body like I had done in my second Rhino design. I also decided I would see what the strings would look like in the body which I had also created in the previous Rhino design. I really like the look of the overlapping wires and it was a comfort that I was able to attach them in this stage because that means it would be pretty easy if I actually created it. I would just attach them by welding them together or even using some very powerful glue.

In my third stage of my Rhino design the first thing I did was scale down the “face”. I think the smaller version seems to flow better with the body. I also labeled the size and applied the materials I have if I actually created this sculpture. I decided to change the “eyes” from one foot to half a food and from ceramic to terra cotta. I wanted to use a clay-like material and the terra cotta looked better than the ceramic. I kept the body as aluminum because I like how it bent and reflects the light. I also kept the small solid part of the “eyes” as glass. The dullness of the terra cotta, reflectiveness of the aluminum and the transparentness of the glass all contrast each other in a really cool way. I kept the “mouth” as copper as well, because I think it is a good transition material/color between the body and the “eyes”. I also created a box and some lights to show how the different materials would take the light and to try to show the scale better.

Inspiration Artists: Mark Power, Antony Gormley, Deirdre...

Mon, 12 Sep 2011 00:05:32 -0400

Inspiration Artists: Mark Power, Antony Gormley, Deirdre Hubbard, Alexis Laurent

Final Rhino # 2

Mon, 12 Sep 2011 00:02:05 -0400

Final Rhino # 2

Maquette Series #2

Sun, 11 Sep 2011 23:20:35 -0400

Maquette Series #2

Sketch Series #2

Sun, 11 Sep 2011 23:18:43 -0400

Sketch Series #2

Rhino Series #1

Sun, 11 Sep 2011 23:17:26 -0400

Rhino Series #1

Maquette Series #1

Sun, 11 Sep 2011 23:15:48 -0400

Maquette Series #1

Sketch Series # 1

Sun, 11 Sep 2011 23:12:02 -0400

Sketch Series # 1

Design and Redesign Process

Sun, 11 Sep 2011 23:10:42 -0400

For this project I wanted to use an aspect from each past project I had created so far in the class. I set up a rule, to use my past ideas to create a new project. For the laser project I had a human face as the main focus, so I decided to make my sculpture be focused/related to the human form. From the 3D Rhino project I took how I used negative space to form the sculpture. I took my use of cutting solids from my collaboration piece. And from my tessellation project I decided I would use how I created a lot of movement in my design and had it be really large in scale. As a result, my idea for this project was to create a sculpture that abstractly depicted the human form. I wanted to have a solid body and a suspended “head”.

Because my idea for this design was to use past project ideas the inspiration I used in those pieces were passed on to this project. The inspirations include Gustav Klimt’s paintings of human form and emotion. Barbara Hepworth’s use of negative space, especially in her piece “Pierced Hemisphere (Telstar)”. Tara Donovan’s large scale works. And Thom Faulder’s material choice in “Airport Tokyo”. I also had new artist and artworks to inspire me further, including Mark Power, Antony Gormley, Naum Gabo, and Deirdre Hubbard.

For my first series of sketches I tried figuring out how I would depict the body, which I wanted to be separate from the head. I researched different artists and tried to see how abstract sculptors used angles and shapes. I was very interested in how artist Deirdre Hubbard created so much movement in her sculpture “Polished Torso”. I sketched various shapes and bodies and eventually I settled on a very simple and smooth body that did not have and sharp angles. I adapted this idea of very a uniform body from Mark Power’s sculpture “Lhoist”. Next I figured out how to construct the “face”. I used the idea of how we always see eyes in structures and I decided all I would have were “eyes”. I sketched two solid objects both geometric to contrast the organic shape of the body, that I planned on cutting up and having it hang from the ceiling about the body. I also wanted to have two more little shapes that would hang in front of the “eyes” to give it more depth.

For the first maquette I used clay and toothpicks to create the 3D model. I made an organic shape for the body and a sphere and square for the two “eyes”. To connect the “head” to the body I used toothpicks. I did not actually cut up the two shapes like I sketched, but I used pen to mark where the cuts would be. The clay model really helped me visualize the structure of my sketch and led me to start thinking about proportions.

The first thing I did in Rhino was create the outline of the body using the “control point” tool. I then made that into a solid, making it very thick. From there I created two solids, a sphere and square. I then cut both solids into 6 pieces using a patched surface and the “split” tool. After i had split, rejoined, and separated my two cut up solids I made the two smaller solids that would hang in front. For one of them a used a red line to show how the wire would look and connect them after it was printed. The last thing I did before started my redesign was look a little at the toucan materials. I made the body aluminum which I was inspired previously by Thom Faulder’s “Airport Tokyo”. Because I used clay for my maquette and like it, I decided to have the eyes stay around that theme, so I applied terra cotta to one “eye”. I also liked the look of the contrasting material and Decided to add one more. So for the small solids I made them be out of green glass.

For the redesign I made a lot of changes with my sketches. The body looked too simple and too obvious. I decided I wanted to make the body be made out of negative space, which I got from researching artist Alexis Laurent. In his sculpture “Le Desert Des Agriates III”, there is a solid sculpture with areas cut out. So this led me to sketch a much more ambiguous body outline and cut out two “arms”, two “legs, and one “torso”. I also began thinking about size and I decided I wanted it to be human sized, about five feet. I also decided that the “face” did not have enough in it. I left the main part the same, but I added a series of rectangles connected to the “eyes” by wires. This idea was inspired by Antony Gormley’s sculpture “Suspension” which is a human made up of overlapping rectangles. Adding this “mouth” made it look more like a human.

For my second maquette design I stilled used clay and toothpicks but I also used copper wire. I cut up the “eyes” and cut out the negative space in the body using a knife. When i was done connecting all the pieces together using toothpicks and wire, I hung the “face” above the body using tape. This combination of materials worked really well and helped me physically see all the different angles and aspects of my design.

After seeing the changed i made in the maquette form it was pretty easy for me to execute my idea in Rhino. I outlined the body and the areas I wanted to be negative then I made it a solid. This time I made it much thinner than the first Rhino design. I also used the bend tool to add a more interesting shape and movement to the body. I changed the “eyes” a little bit. I cut them a different way and instead of leaving all the pieces of the solid like I did with the first Rhino series, I deleted every other cut to use the negative space more. I created the series of rectangles and dispersed them pretty randomly beneath the “eyes”. To show what all the hanging and connecting would look like (with the wire) I used a reddish line. After i was done with everything I decided I wanted to use the wire technique Naum Gabo uses in a lot of his sculptures. So in all the areas of negative space on the body i chose three different spots and put a series of (too be) wires going in all different directions. This made it so there was more movement as well as tie together the top and bottom by both having wires.

I was really happy with the outcome of my design. It was really interesting to look back at my transformation as a whole. It was hard to stay in the moment and not try to jump ahead and try to see what things would look like in a future step. But I was glad that I did it step by step. Each one helped me build more ideas and make sense out of what I was doing. This process also helped me go slow and think though every single thing I did.