Selected Stills
Still Images at North Spine, Media Nexus Wall:
Photo Credits to: Solomon Quek Jia Liang
Research and Process:
Special thanks to Leon Poo, Charmaine Vitamin, Reytard for helping!
visual references:
these are the raw footage i wanted to capture and achieve from using
-cloth
-black ink
-black paint
-acrylic sheet to capture what it is like to be under the black paint
-black cloth
-white paint
-motion and movement of Leon’s hands
Embed link to the video:
<iframe width=”560″ height=”315″ src=”https://www.youtube.com/embed/NTu9VcJ1Iq8″ frameborder=”0″ gesture=”media” allowfullscreen></iframe>
Improvement from last week –
1.Directional Lines
2.New experimental footage of paint, milk, oil and soap
3.Inclusion of human factor – hands and cloth moving
4.Playing of effects on Ae that worked well
What worked well was how the lines moved with the people walking by making it slightly interactive in a sense and ina encouraged me to play with the directional lines as seen in the video above.
What it does is that the pedestrians walking by would be followed by trails of lines created on after effects.
From here i will improve on the lines moving across the screen to increase the movement and dynamics.
What didn’t work well was how the wave lines clashed with the footage.
Week 12 to do:
Removal of GoPro footage of swimming pool in SRC because it was too low quality on the large MAN screen compared to my laptop screen.
-> Testing on MAN wall allowed me to see the difference in quality and how different it looks on my laptop screen
->Direction of the video worked very well on the screen and i needed to work on the dynamics and not be afraid to be more experimental
On the processing side, im going to change the data i have of the sea level in singapore specifically to: Plot of Sumatra tsunami records
https://nctr.pmel.noaa.gov/indo20041226/Bc_tsu6.htm
Visually,
Hurricane Painting by Krista Machovina
Thanks to the resource recommendation by Bridgel,
I really like how the smoke ribbon from abandonedart.org replicates the artwork by krista. Visually, it shows the idea of an apocalypse accoompanied with the waves gushing at the audience.
Further visuals to be explored:
summary of tsunami in sumatra:
http://www.tsunami.civil.tohoku.ac.jp/sumatra2004/C1.pdf
2004 Indian Ocean earthquake
The 2004 Indian Ocean earthquake occurred at 00:58:53 UTC on 26 December with the epicentre off thewest coast of Sumatra, Indonesia.
It is the third-largest earthquake ever recorded on a seismograph and had the longest duration of faulting ever observed, between 8.3 and 10 minutes.[9] It caused the entire planet to vibrate as much as 1 centimetre (0.4 inches)[10] and triggered other earthquakes as far away as Alaska.
The resulting tsunami was given various names, including the 2004 Indian Ocean tsunami, South Asian tsunami, Indonesian tsunami, the Christmas tsunami, and the Boxing Day tsunami.
Tectonic Shifts – Done by After Effects
Beyond The Seas – Experiment 1
Experimenting code for Media New Nexus Class
Stacking already given code from Processing.org to show 2 different sea levels.
Beyond The Seas – Experiment 2
Experimenting code for Media New Nexus Class
Base code comes from The Coding Train on Youtube, it ties in well with the concept of showing the 2004 Tsunami Incident.
Against the wide screen, the effect of the waves rushing towards the audience would achieve the desired feeling.
Placing Data onto Processing –
Data for Sea Level in Tanjong Beach from 1984 to 2016 taken from: http://uhslc.soest.hawaii.edu/data/?rq
However, it lacks the visual although it does show accurately
Visuals to work on:
Wave Gradient
https://www.processing.org/examples/wavegradient.html
More ideas:
https://www.pinterest.dk/pin/181199584990120245/
I’ll be looking at the emotional aspect of how the seas in south east asia can bring – Whats different about the seas in south east asia? This project is inspired by the trip to Bali with my friends over the holidays. We rode our scooter bikes to several beaches a day, and some of the seas were friendly, gently washing up to our feet, while some were deep and troubled, crashing against the rocky walls, beneath the Tanah Lot Temple.
In my project, I aim to translate the sea levels in visuals, portraying the emotions through aesthetics using processing. I wish to incorporate sea pollution when the seas get more troubled and choppy in the work, while starting and ending off in a light mood.
Artist Reference: Refik Anadol
Wind of Boston: Data Painting
by Refik Anadol
Waveform Structure done through processing
Below i tried to achieve the 3d form using illustrator:
Needless to say, it looks pale in comparison but it’s just week 2… We’re getting there!
I’ll be researching and looking at process projects that inputs data into particle systems.
Week 3
Second idea/alternative
I realised syvelster is doing something similar and he has posted his idea before mine so i have explored a second idea/concept for MAN.
Box – Illusions of a plain white wall
I came upon this video last semester while doing research for viscom, and the video has been on my mind since then.
If it’s possible i’ll like to challenge the 2d plains of the LED Screen by creating 3d visuals.
Creating a physical world people can walk into – WHAT?!
Honestly its freaking cool and i have no idea how to do it but im gonna try to use Cinema 4D and adobe after effects and we’ll see about that
ok peace
Creators is VICE's arts and culture platform, covering every aspect of the creative process. Our mission is to make art more accessible to a wider audience with diverse voices reporting on emergent arts and artists. From sculpture and light projections to street art and dance, we immerse ourselves in cultural hotbeds and travel to the far corners of the globe to explore the spectacle and color of making art today. From global events to daily video and editorial content, Creators has collaborated with more than 600 artists globally including Karen O, Daft Punk, Spike Jonze, M83, Animal Collective, The xx, Chris Milk, Florence and the Machine, United Visual Artists, Mick Rock and David Bowie.
Giorgio Morandi is Italy’s most famous 20th century still life painter. He lived from 1890 – 1964 and is most remembered and renowned for his extensive body of still life paintings (called natura morta in Italian).
Giorgio Morandi’s still life paintings are instantly recognizable for their muted color palette, subdued and unsophisticated subject matter, and quiet simplicity.
Morandi’s subject matter gravitated towards everyday objects that could be found in any kitchen – such as jars, ceramic bowls and vases, bottles, pitchers, jugs and boxes. These objects are familiar, yet they are purposely stripped of any identifying marks such as labels. This lends the objects a sense of anonymity and universality – these objects could easily come from anyone’s kitchen. They could even be found on the shelves of your own cupboard.
The objects are placed on a nondescript tabletop, grouped together in various arrangements. The key factor is that these domestic objects are utterly unremarkable. They are not loud and ostentious. They do not demand our attention. These are not the objects of the rich and famous. Instead, they are silently humble. They represent a reality that is not dressed to impress. By focusing on objects that are commonplace, he shines a light on the functional objects we use everyday that are often overlooked and taken for granted.
This art piece gives me the feeling of looking at a number of items/goods in a supermarket/grocery store. The warm tones used in this painting is cheery and happy.
Although the composition of Giorgio Morandi’s still life paintings look deceptively simple, he would spend weeks obsessively shuffling the objects around to get just the right placement. He would experiment with different combinations of objects overlapping and placed next to each other in a variety of ways, looking for the right medley of forms.
The perspective of his still life paintings is always looking straight on at them, or looking down at them. There is a certain mysterious ambiguity to the location of Morandi’s still life set-ups. Because it’s impossible to pinpoint a specific location or identify the owners of the objects, the paintings enjoy an anonymous, silent quality.
There is a silent quality about this painting possibly because of the dark and cool colours used and the dark background creates a very dramatic atmosphere against the bright white lighting coming from the left. The shadows created on the right also supports the dramatic feeling. The composition of the artwork is 1/3 where the white vase on the right blocks out a good amount of light grey.
Morandi works in a painterly style, in which the brushstrokes are visible and thus become an important part of the composition. He is not concerned with hiding the brushstrokes to create a smooth surface appearance. Instead, he paints in such a way that the quality and handling of the paint have as much contemplative importance as the objects he is painting.
In kyle staver’s painting of a couple in the bathroom, the feeling is intimate, almost comedic and warm. The translucency of the shower curtains draws me in as it is the lightest part of the painting and it cuts the painting into two equal halves. The lady on the left is painted in a darker shade compared to the man in the bath tub on the right. She is also placed in a higher position and in a smaller scale compared to the man. This balances the artwork as the man is in a lighter shade and he captures more attention. The shower head above the man sets the tone and atmosphere of the painting and we can feel that he is in a more enclosed space as compared to the lady on the left. The man submerged in water is also well painted although faintly but we can tell that the bath tub is filled. The warm tones of the bathroom tiles under the lady creates a kind of action and motion to the painting and we can feel that somehow the lady is moving or hustling faster than the man on the right is. Overall, I enjoy the atmosphere created in this indoor painting of the couple sharing a toilet on a daily basis.
In this second artwork of Kyle Staver, my eyes are directed to the blood on the knife held by the big man on the left. The knife cuts the artwork into 2/3, diagonally, with the man in a redder shade on the left and the man with the right orangey tone on the right. I really enjoy how this painting has no definite context of time or space and the audience is able to create the situation on their own. The way the animal from the right swoops into the redder man on the left creates motion and direction for the audience’s eyes. The colour of the sky shines behind the man on the left. The skin tone for the man on the left is very interesting as it shows a sense of violence and tension and the way his back is arched behind is unusual and it raises curiosity.
Lastly, this painting shows two people in a free fall motion and frozen in time. Similar to the second painting, it does not have a definite time or space and it is up to the audience to guess where is this place and when is it. To me, it feels like it in the morning however they have fallen into a very big pot or vase and they are reaching the bottom of it. This must not have been earth because of the way the lady is falling (right side), she seems to be almost floating and being pushed upwards off the ground. The semi-circle on the bottom frames the artwork and it makes the place looks somehow contained. The light falling on the chest of the man and the lady. The light source seems to come from the left top corner. This piece is very interesting because of the perspective of the man free falling. The way he is cropped is draws attention to the way and dynamics of the way he is falling and dragged down by gravity whereas the lady is pushed off the ground.
Final Product! –
It has definitely been a really fun and interesting semester with all the creative and fun presentations and group projects! (It beats having to take tests, duh!)
For our final project, we settled on appropriating the goddess, Yakshi. It was overall a great idea and it was definitely fun exploring how a voluptuous body like what Yakshi had, meant in today’s context and what were the implications of it.
During our final presentation (Whew!), we were posted a few questions and I would like to cover the answers in this post.
Overall, it was a really fun experience working with my group mates and visiting the Asian Civilisation Museum! During this journey, we had ideas we had to dump and to take on new ones and debating as a group was really tiring yet rewarding!
Thank you for viewing our final project: Yakshi X Naomi Neo! 🙂
The 2D Food Journal
Honestly, I was very unsure of how to go about doing this project having zero exposure to Indesign, much like most of the class. Going for consultation with a lot of random images places haphazardly, I was really really terrified.
During consultation, I learnt a lot of design principles and to have confidence in my style (watercolour illustrations on photoshop and drawing pad.) and with a lot of guidance I was on my way.
I spent a few days/weeks illustrating everything, especially the first page as that was probably the hardest. Referencing various watercolour/recipe books at the same time, I was taking out designs which I thought were interesting and cute, which suited the design I was aiming for.
Finally, I was able to bring out the fun, whimsical and colourful design that I never thought I would be able to do at the end of the semester!
You guys don’t know how much you’ve encouraged the unconfident me in 2D Class! 🙂
