One,
Two,
Three,
Four,
Five!
Monday, August 30, 2010
Digital Sculpture : Experimentation
Experimented with Wings 3D to create 5 digital sculptures...
One,
Two,
Three,
Four,
Five!
One,
Two,
Three,
Four,
Five!
Digital Sculpture Research
1. John Baugh, Solaris Unfolds, 2006
http://www.thedarkspace.net/solaris_unfolds.htm
What I like: the details of the piece that give the mechanical look yet feels organic at the same time. the flexibility and grace in the movement of the animation
2. Joachim Sauter, Kinetic Sculpture for BMW Museum, 2008
http://www.joachimsauter.com/en/projects/kinetic.5.html
What I like: Again, I love the way it can morph into different forms, and the very simple but sleek look. It almost looks like an element in action.
3. Maxim Zhestkov, MODUL, 2009
http://zhestkov.com/
What I like: Using animation to create a kinetic digital sculpture, down to the basic color of black and white, like molecules interacting with time and space in a room.
4. Michael Rees, Putto, 2006
what I don't like: it looks awkward without the head and kind of nightmarish
5.Lee Aries, Beginning, 2003
http://www.fa.hku.hk/hkaa/artists.php?artist_id=102
What I like: The organic and very simple shape, yet it tells a story.
6. Lee Aries, To Hong Kong, 2003
What I like: The simplicity & sleekness of the metal material and the design's shape.
7. Dan Collins, Twister, 2007
What I like: Looks like he's morphing into the air / disappearing
8. Bathsheba Grossman, Eltanin, 1993
http://www.bathsheba.com/gallery/eltanin/
What I like: The piece reminds me of origami, due to the way the flat planes interlock with each other. I like that it is in a ball, which gives it an organic look despite its flat and sharp angles.
9. Bathsheba Grossman, Flow, 2006
http://www.bathsheba.com/gallery/beckman/
What I Like: I love how she has everything linked to each other so smoothly. She posted the process of how this was created, and I have even more admiration for it after seeing how it was put together.
10. Shawn Smith, Everett, 2008
http://www.shawnsmithart.com/images.htm
What I like: It looks like pixels but in the real world, and even though it's made of tiny cubes, you can really tell the form of the object in physical space instead of just flat like 2D pixels.
11. Shawn Smith, Parasited Shark, 2007
What I like: The colors used are not a flat color and it gels together when seen from afar.
12. Shawn Smith, 2010
What I like: he used a mass of the same object to form another item (French horn)
13. Heather Gorham, 2010
http://www.sculptcadrapidartists.com/heathergorham.html
What I like: good use of digital technology to be able to show the inside of the rabbit. I love gears too.
14. Joanie Lemercier, Light Sculptures, 2007
What I like: The effects look striking, the way the light is used, is indeed very witty, especially the balance between the graphics and color against the shadows and angles of the shapes themselves. The textures created by the lights (dots and different colors) give a very interesting effect.
15. Bruce Beasly, Query, 2003
http://www.brucebeasley.com/home.htm
What I Like: the shapes used are very geometrical, but the placement reminds me of organic crystal formations, especially in addition to the color used in this particular piece.
16. Kenneth Snelson, Landscape 01, 2004
http://www.rocklandartcenter.org/digi2.html
What I like: The interlocking circles are like bubbles with secrets of the universe going on inside each sphere, and the lighting and color shown in this picture give a warm pleasant feeling.
17. Bruce Beasley, Untitled, 2005
What I like: He challenges himself to keep to basic shapes to create visual compositions
18. Ken Snelson, Base Station, 2009
What I like: Mystery ball within a ball, looks like the inner piece could be moved.
19. Jon Isherwood, Burning through History, 2009
What I like: If I didn't know the title, I would think it was a kind of sand animal like a "sand shrew". I am not sure how the title related to it but nevertheless I still admire the form.
20. Robert Michael Smith, Paradise Bird Burlesque, 2009
What I like: It looks like a single shape multiplied over giving the impression of motion, and at the same time forms the image of a peacock-like bird. Ingenious.
21. Robert Michael Smith, Timebender Bouquet, 2009
What I like: Again he used an object caught in its motion trail to create a dance-like metamorphasis.
22. David Morris, Matador's cape, 2009
What I like: making the surfaces instead of completely smoothening out the curve gives the piece so much more texture and reminds the audience of its digital origin.
23. Ken Eward, Microsculpt, 2007
What I Like: That its inspiration is taken from natures micro-organisms, reminiscent of chinese rock arts. Appreciation for nature's beauty reproduced in a larger scale.
24. Keith Brown, Undulating Shapes, 2007
What I like: like a lava lamp, the shapes flow into each other, relaxing to look at.
25. Dave VanNess, Caribou Conflict, 2010
What I like: usage of a familiar occurrence translated into art. “Out of conflict beauty can be created. But in a grander sense only by the engagement of these two creatures can this beautiful crystal structure be created. This could be seen as the current, well seemingly eternal conflict of east and west.” the meaning behind the piece is deeper that I thought.
http://www.thedarkspace.net/solaris_unfolds.htm
2. Joachim Sauter, Kinetic Sculpture for BMW Museum, 2008
http://www.joachimsauter.com/en/projects/kinetic.5.html
What I like: Again, I love the way it can morph into different forms, and the very simple but sleek look. It almost looks like an element in action.3. Maxim Zhestkov, MODUL, 2009
http://zhestkov.com/
What I like: Using animation to create a kinetic digital sculpture, down to the basic color of black and white, like molecules interacting with time and space in a room.4. Michael Rees, Putto, 2006
what I don't like: it looks awkward without the head and kind of nightmarish
5.Lee Aries, Beginning, 2003
http://www.fa.hku.hk/hkaa/artists.php?artist_id=102
What I like: The organic and very simple shape, yet it tells a story.6. Lee Aries, To Hong Kong, 2003
What I like: The simplicity & sleekness of the metal material and the design's shape.7. Dan Collins, Twister, 2007
What I like: Looks like he's morphing into the air / disappearing8. Bathsheba Grossman, Eltanin, 1993
http://www.bathsheba.com/gallery/eltanin/
What I like: The piece reminds me of origami, due to the way the flat planes interlock with each other. I like that it is in a ball, which gives it an organic look despite its flat and sharp angles.9. Bathsheba Grossman, Flow, 2006
http://www.bathsheba.com/gallery/beckman/
What I Like: I love how she has everything linked to each other so smoothly. She posted the process of how this was created, and I have even more admiration for it after seeing how it was put together.
10. Shawn Smith, Everett, 2008
http://www.shawnsmithart.com/images.htm
What I like: It looks like pixels but in the real world, and even though it's made of tiny cubes, you can really tell the form of the object in physical space instead of just flat like 2D pixels.11. Shawn Smith, Parasited Shark, 2007
What I like: The colors used are not a flat color and it gels together when seen from afar.
12. Shawn Smith, 2010
What I like: he used a mass of the same object to form another item (French horn)13. Heather Gorham, 2010
http://www.sculptcadrapidartists.com/heathergorham.html
What I like: good use of digital technology to be able to show the inside of the rabbit. I love gears too.14. Joanie Lemercier, Light Sculptures, 2007
What I like: The effects look striking, the way the light is used, is indeed very witty, especially the balance between the graphics and color against the shadows and angles of the shapes themselves. The textures created by the lights (dots and different colors) give a very interesting effect.15. Bruce Beasly, Query, 2003
http://www.brucebeasley.com/home.htm
What I Like: the shapes used are very geometrical, but the placement reminds me of organic crystal formations, especially in addition to the color used in this particular piece.16. Kenneth Snelson, Landscape 01, 2004
http://www.rocklandartcenter.org/digi2.html
What I like: The interlocking circles are like bubbles with secrets of the universe going on inside each sphere, and the lighting and color shown in this picture give a warm pleasant feeling.
17. Bruce Beasley, Untitled, 2005
What I like: He challenges himself to keep to basic shapes to create visual compositions18. Ken Snelson, Base Station, 2009
What I like: Mystery ball within a ball, looks like the inner piece could be moved.19. Jon Isherwood, Burning through History, 2009
What I like: If I didn't know the title, I would think it was a kind of sand animal like a "sand shrew". I am not sure how the title related to it but nevertheless I still admire the form.20. Robert Michael Smith, Paradise Bird Burlesque, 2009
What I like: It looks like a single shape multiplied over giving the impression of motion, and at the same time forms the image of a peacock-like bird. Ingenious.21. Robert Michael Smith, Timebender Bouquet, 2009
What I like: Again he used an object caught in its motion trail to create a dance-like metamorphasis.22. David Morris, Matador's cape, 2009
What I like: making the surfaces instead of completely smoothening out the curve gives the piece so much more texture and reminds the audience of its digital origin.23. Ken Eward, Microsculpt, 2007
What I Like: That its inspiration is taken from natures micro-organisms, reminiscent of chinese rock arts. Appreciation for nature's beauty reproduced in a larger scale.24. Keith Brown, Undulating Shapes, 2007
What I like: like a lava lamp, the shapes flow into each other, relaxing to look at.25. Dave VanNess, Caribou Conflict, 2010
What I like: usage of a familiar occurrence translated into art. “Out of conflict beauty can be created. But in a grander sense only by the engagement of these two creatures can this beautiful crystal structure be created. This could be seen as the current, well seemingly eternal conflict of east and west.” the meaning behind the piece is deeper that I thought.
Digital Sculpture Article Reviews
Article summaries
Ars Ex Machina – William V.Ganis
In today's era, many sculptors are making use of digital technologies to create virtual forms and then translate them into the physical world, which was not possible until recent times. This is thanks to rapid prototyping (RP), which “prints” 3-dimensional objects from the computer environment using a variety of materials such as polyester & resin. The digital realm offers sculptors a whole new range of possibilities that cannot be done by the human hand, such as art inspired by scientific and engineering environments, and it can also help to cut costs by reducing transportation fees, which is key to sharing information about these artworks. This form of art also allows it to be realized in RP machines anywhere in the world and for events to be held simultaneously globally. An example of such an exhibition is “Intersculpt” which was recently “realized by RP machines in 10 international venues as diverse as Auckland, Dakar, Hong Kong, Manchester, New Orleans, New York, and Paris.” Many universities have incorporated digital sculpting classes and RP into their curriculum, which indicates that not only is it recognized by faculty for its flexibility as a medium, but it is also in high demand by students eager to learn about the latest technologies. Currently the downside of the digital medium is that access to RP machines are limited and expensive. However some speculate that it will be more accessible in the future, and perhaps by that time more varieties of color and impressions of materials may be possible. The author feels that there is a long way to go before digital sculpture will “lose its industrial character and becomes identified with the fine arts.”
Discussion question: If it is easily spread over the internet, how do you protect your digital artwork from being reproduced and sold by others?
Digital Stone Project – William V.Ganis
In order to preserve the unique resources of digital stone cutting found at the Johnson Atelier (JA) Stone Division, the Digital Stone Project was set up as a non-profit collaboration together with several sculptors and the directors of JA Stone Division to pool money in order to purchase the equipment from the Atlantic Foundation. With these machines, works ranging from huge public installations to personal projects have been completed, such as the textured marble tile sets for the expressway in New York. Not only can these machines scan objects for replication, they save a lot of time in blocking out the main sculptural form in massive sizes, after which artisans can give the final touch-ups by hand-carving the details. The characteristics of a material can also be applied to other materials to give a different effect, such as applying the effect of marble onto plaster, or materials like cracked stone that would crumble under the traditional method of carving can be used. The machines are especially useful for rescaling a scanned object to a much-enlarged scale, and for making precision cuts of exact geometry. There are an increasing number of opportunities at institutions for artists to access such man-operated machines. Despite all these technological advances, it is important to keep in mind that the digital sculpt is merely a tool and the artist is still very much involved in the whole art process, from the concept to solving technical difficulties together with the technicians, and the digital method allows for many new possibilities that were otherwise unavailable before.
Discussion question: Is there a limit or boundary to how little the artist's hand is involved in the creation process before it is considered not a human idea/artwork?
Formotography – Harry Abramson
“Formotography” consists of three-dimensional data capture, digital modeling, and digital production. Three-dimensional data capture makes use of 3D laser scanners to translate the information of real objects in the physical world into the virtual realm; digital modeling is the creation or modification of virtual sculptures using Computer Aided Design (CAD), and digital production is the ability to create the virtual object using any material in any size using Rapid Prototyping (RP) or Computer Numeric Controlled (CNC) Machines. RP builds objects layer by layer and there are limitations to size, quality and material choices, but has the main advantage of creating highly detailed small objects. On the other hand, a block of material is carved by the machine in the CNC milling process. As the level of detail may not be as high, many artists use this method to create a larger scale of their works and add details by their own handiwork after the digital print process, thus saving much time and costs compared to if they were doing the whole process traditionally. Another advantage of the digital process is scanning objects for studies, documentation or making replicas of the original. This is especially useful for artists wanting to focus on the creativity area, marketing, as well as conservation. With the help of constantly improving technologies, artists are able to reach higher standards of technical accuracy, but what truly makes a work outstanding is the artist's vision and decisions made.
Discussion question: With the help of laser scanning devices, artists can scan humans and a sculpt of them can be created. How does it affect the value of work if another artist were to carve the same figure traditionally, and will it change how others view the artwork if they knew how it was done?
Ars Ex Machina – William V.Ganis
In today's era, many sculptors are making use of digital technologies to create virtual forms and then translate them into the physical world, which was not possible until recent times. This is thanks to rapid prototyping (RP), which “prints” 3-dimensional objects from the computer environment using a variety of materials such as polyester & resin. The digital realm offers sculptors a whole new range of possibilities that cannot be done by the human hand, such as art inspired by scientific and engineering environments, and it can also help to cut costs by reducing transportation fees, which is key to sharing information about these artworks. This form of art also allows it to be realized in RP machines anywhere in the world and for events to be held simultaneously globally. An example of such an exhibition is “Intersculpt” which was recently “realized by RP machines in 10 international venues as diverse as Auckland, Dakar, Hong Kong, Manchester, New Orleans, New York, and Paris.” Many universities have incorporated digital sculpting classes and RP into their curriculum, which indicates that not only is it recognized by faculty for its flexibility as a medium, but it is also in high demand by students eager to learn about the latest technologies. Currently the downside of the digital medium is that access to RP machines are limited and expensive. However some speculate that it will be more accessible in the future, and perhaps by that time more varieties of color and impressions of materials may be possible. The author feels that there is a long way to go before digital sculpture will “lose its industrial character and becomes identified with the fine arts.”
Discussion question: If it is easily spread over the internet, how do you protect your digital artwork from being reproduced and sold by others?
Digital Stone Project – William V.Ganis
In order to preserve the unique resources of digital stone cutting found at the Johnson Atelier (JA) Stone Division, the Digital Stone Project was set up as a non-profit collaboration together with several sculptors and the directors of JA Stone Division to pool money in order to purchase the equipment from the Atlantic Foundation. With these machines, works ranging from huge public installations to personal projects have been completed, such as the textured marble tile sets for the expressway in New York. Not only can these machines scan objects for replication, they save a lot of time in blocking out the main sculptural form in massive sizes, after which artisans can give the final touch-ups by hand-carving the details. The characteristics of a material can also be applied to other materials to give a different effect, such as applying the effect of marble onto plaster, or materials like cracked stone that would crumble under the traditional method of carving can be used. The machines are especially useful for rescaling a scanned object to a much-enlarged scale, and for making precision cuts of exact geometry. There are an increasing number of opportunities at institutions for artists to access such man-operated machines. Despite all these technological advances, it is important to keep in mind that the digital sculpt is merely a tool and the artist is still very much involved in the whole art process, from the concept to solving technical difficulties together with the technicians, and the digital method allows for many new possibilities that were otherwise unavailable before.
Discussion question: Is there a limit or boundary to how little the artist's hand is involved in the creation process before it is considered not a human idea/artwork?
Formotography – Harry Abramson
“Formotography” consists of three-dimensional data capture, digital modeling, and digital production. Three-dimensional data capture makes use of 3D laser scanners to translate the information of real objects in the physical world into the virtual realm; digital modeling is the creation or modification of virtual sculptures using Computer Aided Design (CAD), and digital production is the ability to create the virtual object using any material in any size using Rapid Prototyping (RP) or Computer Numeric Controlled (CNC) Machines. RP builds objects layer by layer and there are limitations to size, quality and material choices, but has the main advantage of creating highly detailed small objects. On the other hand, a block of material is carved by the machine in the CNC milling process. As the level of detail may not be as high, many artists use this method to create a larger scale of their works and add details by their own handiwork after the digital print process, thus saving much time and costs compared to if they were doing the whole process traditionally. Another advantage of the digital process is scanning objects for studies, documentation or making replicas of the original. This is especially useful for artists wanting to focus on the creativity area, marketing, as well as conservation. With the help of constantly improving technologies, artists are able to reach higher standards of technical accuracy, but what truly makes a work outstanding is the artist's vision and decisions made.
Discussion question: With the help of laser scanning devices, artists can scan humans and a sculpt of them can be created. How does it affect the value of work if another artist were to carve the same figure traditionally, and will it change how others view the artwork if they knew how it was done?
Tuesday, August 24, 2010
Written Assignment 01
When I found out I could take the class for Introduction to Sculpture, I was really excited because even though I am from the Computer Animation major, sculpture art interests me just as much. This may be perhaps due to influence from my parents – My father's business deals with art pieces used as awards for company listing ceremonies, and my mother used to practice pottery at home. My father and I also share the same interest for figurine toys, although that is a different genre of sculpture. Being inspired by these artworks that I have been surrounded by, I hope to be able to create artistic sculptures that can also be used for my father's awards company collection, and maybe even someday hold an art exhibition together with my mother.
From the class, I understand that we will be using metal, wood, casting, and even found objects. From these basic mediums, I hope to understand what are the different methods that can be used to put these pieces together, as well as what the limitations are that comes with each different material. I am excited to try the various mediums and to know as much as I can about the best ways to make use and to showcase each material's unique characteristics. Through this class, I hope to be able to expand my views and ideas of what is considered aesthetically possible and beautiful through interaction and discussions with the fellow students and the teacher, as well as learn how I can improve my artworks based on their critique. To be together with others that share the same passion inspires me and I hope to learn and spark my imagination from them as well. I hope that I will also be able to give valuable feedback to help my classmates.
I believe I will also get to know about other artists around the world that do sculpture art, and through this class, expand my knowledge of them and their works, as well as to be able to form rational and meaningful opinions based on the visual stimuli.
Studio work wise, as the materials such as metal and wood deal with big equipment, there is the faint paranoia of losing limbs that bothers me at the back of my head. However, I hope to develop enough courage and competency to wield these equipment safely on my own, as well as to guide others.
Another area that intrigued me is the recording of the process through a blog instead of the conventional sketchbook. I realize that the advantages of having a blog is that what I have learnt can be shared with the world via the web, and I can also share my resources and give links to my fellow classmates. Through this assignment, I hope to develop the habit of updating the blog frequently and organizing my portfolio files better for future reference.
I am eager for the class to begin!
From the class, I understand that we will be using metal, wood, casting, and even found objects. From these basic mediums, I hope to understand what are the different methods that can be used to put these pieces together, as well as what the limitations are that comes with each different material. I am excited to try the various mediums and to know as much as I can about the best ways to make use and to showcase each material's unique characteristics. Through this class, I hope to be able to expand my views and ideas of what is considered aesthetically possible and beautiful through interaction and discussions with the fellow students and the teacher, as well as learn how I can improve my artworks based on their critique. To be together with others that share the same passion inspires me and I hope to learn and spark my imagination from them as well. I hope that I will also be able to give valuable feedback to help my classmates.
I believe I will also get to know about other artists around the world that do sculpture art, and through this class, expand my knowledge of them and their works, as well as to be able to form rational and meaningful opinions based on the visual stimuli.
Studio work wise, as the materials such as metal and wood deal with big equipment, there is the faint paranoia of losing limbs that bothers me at the back of my head. However, I hope to develop enough courage and competency to wield these equipment safely on my own, as well as to guide others.
Another area that intrigued me is the recording of the process through a blog instead of the conventional sketchbook. I realize that the advantages of having a blog is that what I have learnt can be shared with the world via the web, and I can also share my resources and give links to my fellow classmates. Through this assignment, I hope to develop the habit of updating the blog frequently and organizing my portfolio files better for future reference.
I am eager for the class to begin!
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