Month: October 2019

Possible Reconstructed Objects

| kimball.103
The reconstructed forms based off my three abstractions represent three possible objects: something a person can use, something that can support a person, or something that can contain at least two people. I attempted to create one of each abstraction into those categories to optimize my outcomes. The first column is derived from my bee abstraction. I decided to use the gum ball machine design as the sharp triangles generate a modern, mechanical appearance, interesting as a bee is alive and fuzzy. Creating an object that can support one person was the biggest challenge for me because it forced me to think about what is considered supporting. I examined how clothes, seats, and even an urn can support a person. I determined that my bath tub formed from the leafy plant best fit this theme. I believe the curves of the broken down leaves produce a serene, wave-like movement. My final abstraction became a gazebo. I made a gazebo out of both the leaves and the gourd; however, the gourd’s long, curved components made better for a layered roof.

 

Color and Pattern Finalization

| kimball.103
My final products of both my first and second design are presented with the tile creation placed to the left and the repeated pattern placed on the right. To finalize my fist design, I focused on repeating it enough to provide context for the blue back space. When repeating this tile, I had difficulties with the application, Vectornator, used to generate the design. The stroke could not be resized to scale with the rest of the shapes; nevertheless, I did not undo this effect because I believe the oversized blue stroke around the green circles create a diamond shape that contrast nicely with the various concentric circles. In terms of finalizing my second design, I determined to use a dark green that was a shade of the green previously used. This help pull my design forward while creating an upside down figure in the negative space similar to the design.

Mountain Process

| kimball.103
The design derived from the rocks is based on the direction projected by the layers of rock. The initial thought was to use line work to elicit movement; however, when adding color I experimented with adding filled shape. I found that by adding awkward shapes it created a more cohesive composition. Furthermore, the dynamics of the line contrasts nicely with the stability of the shapes. I looked at how the design would appear without the lines, yet it lost the movement and direction. Lastly, I attempted to remove the gaps between the individual spaces, but it came across as congested, and disorganized. Color helped this composition join as abstract components. I used varied tints and shades of green and yellow. It created a feeling of earthiness I strived for. Additionally, the yellow is accented by the sparingly used purple.
When evaluating my tile as a repeating pattern, I thought mostly about how the color of the negative space will influence the pattern. I chose to put each form close together in order to create a similar shape out of the negative space. I experimented with filling the space with the circular shape, but it looked out of place. Also, when repeated even more, the angles of the colored shapes creates a diagonal pattern throughout. In my final pattern I determined a dark green to be the right choice for the background. The darkness helps define each individual form, while not being overbearing. In addition, the shade of green present follows the color scheme as it is a deviation of the green already present.

Frog Eye Process

| kimball.103
My initial interpretation the frog’s eye focused on it’s individual components. I decided to revise the triangular shapes within the eye, and place them in a more symmetric position. The triangles contrast the roundness of the concentric circles. As my ideas developed, I added more intricate triangles within the circle to create a fuller, more active design. Color was a major aspect in creating my final piece. I decided to follow a color scheme involving green, blue, and orange, based on my color explorations. I centered the orange/browns in order to have the eyes build through the green to the blues. I increased the contrast of colors from the second to last design as suggested during critique.

When developing my tile that was to be repeated, I focused on using the maximum amount of space, as my design is simple and not overwhelming. I initially consider using only a component of my original design to fill the center space; however, the curves that carve into the center circle created an unusual, diamond-like shape. It was to keep this new shape that caused me to choose to use the whole design. In addition, by laying my circles, I wanted to demonstrate a little bit of depth. I followed this action by evaluating color. The center to me was still back space, so I transitioned the design into different shades and tints of the blue that outlines the other circles.

Pattern Research

| kimball.103
When deciding which natural pattern I planned to use for my outline, I wanted to choose two very different references. I thought the concentric circles of the frog’s eye had interesting contrast with the pointy design in the eye.
The rock pillars were my second choice for the pattern project because the horizontal movement of the rock layers intuitively contradicts its column form. I appreciate the variety of lines, both actual and implied within this form. My design was inspired by the the horizontal motion the layered earth suggests.

2D- 3D Creation Process Notes

| kimball.103

When initially creating my 12 ideations for the elevations, I focused on designs that would result in 3 different final forms. I chose order design as I felt pillars are a strong stable element that projects stability.When experimenting with different iterations I found that I could used a variation of heights to create the overlapping squares. I made the center the highest as the cross-shaped pillar is crucial in creating the top view’s image as my 2D design. My second design I chose was my tension. Implied lines and negative space were used in creating the diagonal movement in the piece. In addition, I relied on completely closed figures as well as gapping figures (the gate-like structure surrounding the majority of the form) to mirror my original design. This was done because the forms that were left open created a thinner outline for the bird’s eye view. Lastly, I planned on following my congested design for my third figure; however, the individual pieces proved to scale very small when confined to a 3×3 space. Furthermore, it felt like the dramatic height changes were too similar to my tension design, so I decided to recreated my bold design in elevated form. My bold design was my favorite to make, as it feels very successful having it a simple box from all angles (besides the top). I liked playing with the idea of internal and external forms. This design forced me to think about using internal space and elevations within a frame.

My original models were very poor quality. A major issue I had with this project was glue. I kept getting glue on the outside of my pieces. Finally, I discovered the best way to join parts is to allow the glue to dry for a longer time before pressing the tabs together, that way it is firmer and less likely to move out of place. In addition, my original drafts required a lot of trial and error. I found that practicing 2-3 times led to a cleaner final project. My construction process was: 1)Draw the parts (usually a column shape and a base that it folds around) 2) Add tabs accordingly (always trying to have the least amount of glueing possible) 3) Cutting out parts 4) Glueing 5) Combining the parts together. I would do each process individually per a design. This helped especially for going from my order to my tension. I had to make at least 10 of the L-shaped columns before I could get it right, so when I got to that part for my tension design it was much easier. Following the reviews in class, I decided to remove the bottoms of some of my pieces as they did not sit flat. This was a recommendation of my peer and it helped reduce the number of cracks in my pieces. In addition, I had to redo my bold design as it got stepped on; nevertheless, this forced me to redo it another time, letting my experience with Bristol paper improve the overall result. All in all, the heights of my projects show variation yet, they do not stray from the 3″x 3″ base very much, which personally helps generate a cohesive aspect. I kept the base board small as my projects are a little smaller, and it allows them to fill the space. Each of my design seem a bit random from most angles, but it aids my decision in making the top view the focus.

 

Interpreted Journey Notes and Sketches

| kimball.103

To begin creating my journey reimagined in the context of a new planet, I returned to each location from my original excursion. I wanted to find obscure perspectives at each place, while conveying a sense of curiosity and uncertainty about a particular object or landscape. I noted the physical characteristics of each spot, fixating on ones that would seem unusual to an alien. I also maneuvered my point of view to understand the emotions my scenes would provoke. Lastly, to conclude the research aspect, I thought about the various combinations of the element/principles and compositional tools I could apply to each sketch. with every sketch, I attempted a new compositional tool such as canting, framing, or worms view.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Reflection

In my final work, my individual frames demonstrate a focus on compositional tools to project sentiments of curiosity, uncertainty, and observation. I use the tire as my object of intrigue as the concentric circles and unique texture make it an odd object. I used the close up view to give the wheel emphasis, while providing a sense of depth to my background. My second scene uses the frame within a frame composition. Texture also was a major influence in my work as the two wooden structures were very similar, yet possessed slight differences. In addition, the feeling on uncertainty is conveyed effectively by the narrow view of the street. Personally, I felt a little creepy and unsure myself as I peered through the small gap into the open space on John and Anne Glenn Avenue. My third situation had me focus on the extreme angle. The metal railing was an affective contrast between the other textures; however, the height was a little overdramatized. I added the hand after the critique because it helps direct the viewer to focus on the feeling and texture of the rail. Sensory input would be a major component to discovering a new planet. I continued adding myself in my next drawing, but this was to emphasize the aerial view of the cup. In this frame, the cup is an out of place object in the outside context, so I used light circular lines to focalize it. Furthermore, I attempted to use the natural direction of the step to create the golden triangle composition. My final destination was in the Architecture building, where the ceiling is composed of various lights. The clean symmetry of the spotlights fascinated me, as did there abstract angling.