Posts

Analogue Game Design

Here’s a refresher on my narrative:

The theme of my narrative is about going on a journey to find a new home.  Since my story is about physical movement from one place to another, I want to create a board game similar to Candyland/Chutes and Ladders/Pictionary in the sense that there is a path with a clear beginning and end, and the objective is to get to the end first.  My first thought was to do something very similar to Candyland, but Zach said in one of the lectures that Candyland is actually a simulation since the players only draw cards and do not make any choices.  I did some research on race games, and found four different categories: simple, complex, multiplex, and strategic.  The simple race game is what Zach referred to as a simulation.  In complex race games, players have more than one piece to move, so they make choices about which pieces to move and when.  Multiplex games have more emphasis on strategy and less on luck, while strategic games have no element of chance.  For this project, I want to do a variation on a complex race game with multiple pieces and multiple paths to get from start to finish.

INITIAL ITERATION

My initial idea was very basic with one path from start to finish.  As I watched Zach’s lectures, I started to take notes and add features that would make the game more complex and give players more choice.  This turned into a basic concept of a game with multiple paths, multiple pieces per player, chance cards, and challenges at certain points.

board 1

 

This was my first game board iteration.  It had two major challenge points, with mini challenges inside.  The organization of the paths meant that you could tackle the challenges in any order.

 

 

board 2

 

 

 

board 3

This iteration had one more challenge point which made a number of possibilities for which order players could go.  I tested using circles for the spaces, but it ended up looking kind of messy.

 

 

 

 

 

 

I turned the circular spaces back into paths that felt more organized and added some visuals from my storyboard.  The colors of the board are based off of the color scheme I used in the storyboard: the home planet was blue, the planet with the monster was maroon/red, and the new planet was yellow.  The pink, purple, blue, and green were all pulled directly from the characters.

 

 

 

 

PROTOTYPE & TESTING

This was my prototype.  There would be 2-4 players who would each have four pieces they had to move (they could be the pink, green, purple, or blue alien and would have four of the same piece).  The goal was to get all of your pieces from the home planet, through each of the three purple planets, and onto the new yellow planet.  Moving would be similar to CandyLand, where players would pick up a color card to see where they could move.  They could pick any path so long as all of the pieces went through each planet, and could move any piece on any turn.  The maroon planets were challenge points.  When you landed on a spot on a planet, you would have five dice and three chances to roll three of whatever number you had landed on.  After each roll, you would keep any of the dice that turned up the desired number (think Yahtzee).  If you got the three that you needed, you could pick up a color card and move on.  If not, you had to wait until your next turn to try again.  The chance cards would be mixed in throughout the color cards.  If you came upon a chance card, you could decide to pick it up or skip it and pick up a color card (chance cards can have positive or negative effects).  I really liked my idea, but I wanted to see how playable it would be so I made a touch version.  I printed out the board, color cards, and chance cards, ripped up post-it notes to use as the pieces, and had my family play it with me.

These are some of the chance cards I made for the practice game

 

This is a super sped up version of only part of the game.  It took a really long time for several reasons: 1) it was new to all of us, so we were learning how to play, 2) there were too many pieces for each person, 3) it was really hard to remember which piece had been to which planet, and which direction they were going in the event that they were bumped back, 4) it turned out that the die-rolling challenges were kind of hard and took many turns.  Testing it was super helpful though because I made a ton of improvements that I wouldn’t have thought of if we didn’t play.  Plus, it was genuinely fun to play!

These are some of the notes I took during gameplay.  I tried to write down what happened during turns, but it was pretty confusing so I decided to just record some of the game and write down feedback.  One of the biggest issues we had was that it was very hard to remember which piece had been to which planet.  For the purpose of continuing the game, I made a little chart to keep track.  My mom mentioned the car from the game of life (which I have never actually played) and that became the solution: players would have spaceships to move around and would collect a piece from each planet so it was easy to know where the piece had been.  One drawback from this was that the characters from my storyboard would no longer be pieces in the game.  However, the game is very strongly rooted in the story both visually and thematically, so it was definitely worth the sacrifice.  I also decided to give each player three pieces instead of four to quicken the pace a little bit.

Another problem was that people would get stuck on planets for a very long time.  To make the challenges a little easier, I decided to have four-sided dice instead of the normal six.  I also thought it would be a good idea to remove the numbers since they were kind of arbitrary and didn’t add anything to the game.  Instead, the dice would be colored and players would just roll for whatever color they had landed on.  Since there are now four possible outcomes (pink, purple, blue, green), I chose to reduce the number of spots on each planet from six to four.

While we were playing, my parents suggested that if you spent three turns trying to get off of a planet and continued to fail, you should be able to just move on.  I agreed that there should be a cap on rolling, but I felt that there should be some kind of drawback to failing three times, so I put in the following stipulation: If you spend three turns trying to get off of a planet and fail, you may move on, but you must come back and try again at some point in order to collect that planet’s “space rock.”

With the addition of the colored four-sided dice, I figured that these could be used for moving instead of the color cards. Since the chance cards would no longer have color cards to be mixed with, I put chance spaces on the board, with the same premise that you could choose whether or not to pick up the card.

 

These are some of the new pieces I added.  I decided to make the space rocks pyramid shaped to match the shape of the dice. I changed the color of the planets so their space rocks would be distinguishable from each other.  The spaceships would have little arrows on the front to indicate which direction they were going.  I designed the four-sided dice with organically shaped color splotches on the corners and a dark blue base to match the board.

board 4

Here’s the updated board that I posted for our draft discussion.  Some of Zach’s feedback was “You might shift the color of the start and end planets, they are very similar to the two planets adjacent to them, unless there is a specific purpose to that?”  I didn’t notice that while I was creating the board, but I definitely saw it after he pointed it out.  I decided to shift the colors to be more similar to whatever item was on them (astronaut, spaceship, monster) and shift the start and end planets away a little bit.

 

FEEDBACK 

Here are all of the comments I got from our discussions, but I selected the ones that were most constructive and responded to them below:

Kayla: Traversing paths on a board game fits your story well. Think about how the player traverses the board and where more elements of choice and risk/reward could be incorporated. Also, think about if you want to distinguish being on a planet versus being on the gameboard paths through some sort of conditions/mechanics. For example, an expansion for the Marvel Munchkin game has different realms that the players move through throughout the game by way of portal cards, and each realm affects the players in different ways (for example, making enemies stronger, making certain items more effective, or increasing the level needed to win the game). Different planets could affect the player in different ways and create a strategy for how to approach them. 

  • Being on the planets differs from the rest of the game board through the condition of having to get a certain outcome from rolling the dice, different than rolling the dice to move forward.

Maihan: In terms of your possible rule (of choosing which piece to move before the player picks up a card), I feel like it’d be a really interesting addition to your game and add another element of fate along with the chance cards. This sounds like a fun game & it relates well to your original theme!

Mackie: Allie, your game ideas all align really well with your story! I think keeping the planet aspect ties it all together! I think the game is challenging enough with the aspect of being able to send a player back if you land on their space, so I think the rule of naming which piece you’re going to move before you roll would make it not as competitive/strategic.

  • I chose not to incorporate the rule of having to choose which piece you would move before picking up a card/rolling the dice because it made the game unnecessarily hard and took away some strategic choice.

Zach: Great use of space in this and good improvements from last check. You might consider adding a little more choice in the game, right now fate with the cards and dice rolling controls much of the outcome. Love the style that you have maintained with the aesthetics, you may even consider the color/texture of each planet differing to further support each threat visible.

  • I added more choice to the game by creating a risk/reward situation with the chance cards.  Since chance cards can have positive or negative effects, a player could choose if they want to pick up the card or skip it.  I also changed the color of the planets (see boards 3 & 4).

Ben: All of your visuals do a great job of communicating utility and theme. I have a question about the movement mechanic, you say that the outcome of the die corresponds to the color of the space they can move one spaceship to, I am curious if this means the next available space with that color, or any space of that color?

  • I clarified in the document that I meant the next space of that color (on any path), not just any available space of that color.

Zach: Awesome visuals! Love the little consistency decisions like maintaining the pyramid with the dice. You might shift the color of the start and end planets, they are very similar to the two planets adjacent to them, unless there is a specific purpose to that? Looks great!

  • I changed the color of the planets again (see board 4 & the final document visuals).

 

FINALIZATION

I finally decided on the title “Space Escape,” and my dad mentioned that the two words had all the same letters.  I had noticed that they sounded similar and kind of blend together when you say it out loud, but didn’t think too much about it.  I decided to write out the two words to visualize them together.  Then I connected the letters with lines and it resembled the paths on the game board which was really exciting – it was one of those moments when you think of something and it just fits perfectly.

 

The last step was to put together my document, which was really fun.  Layout is one of my favorite things, so I spent a lot of time making it look exactly how I wanted.  It was frustrating working with Word, which really isn’t made for design, and I found myself wishing I knew how to use InDesign.  I didn’t have the time to learn before the project was due so I stuck it out with Word, but I am signing up to take online classes through my local community college that teach Adobe programs.  I also had a lot of trouble exporting it as a PDF because it kept messing up the formatting and the font I imported, so I ended up just taking screenshots of the pages and exporting them as a PDF which worked out fine.

 

 

Gifting Design

EXERCISE 1: BEST GIFT

The best gift I ever received was my hammock. It’s not my favorite for eliciting the most enthusiastic response upon opening (that would be Maroon 5 tickets in fifth grade) but because I’ve been using it for years and it consistently brings me joy. My first memory of seeing a camping hammock was at a summer camp/mission trip in Tennessee in 2016. All of the counselors had theirs set up by their cabin and a few of the older kids had brought theirs as well. A girl from my church showed me how to get in one by wrapping my arms and foot in it and twisting around. I was mesmerized and had to have one; my wish was granted that Christmas. I use my hammock every chance I get; it’s a great way to spend time outside. Especially at the beginning of college, it could be depressing staying inside to work all the time so I would take my things outside and do homework in my hammock. I can’t wait for the weather to warm up so I can use it again!

My partner: Gray McKay

Gray was one of the second-year students that came in to talk to us about interior design.  Several of them left their contact information and I was able to see her portfolio from last year.  I was really impressed by her work and noticed that we both switched majors and come from a very limited background in design, so foundations was a big step into the unknown for both of us.  One thing that I was impressed by was her 3D modeling with Bristol – her craft was good, but the ambition and complexity in the models was ridiculous!  She also mentioned “I am not a huge fan of drawing, mainly because in comparison to my classmates I see a huge area for improvement.” which I could really relate to.  It made me feel better about my abilities and myself as a designer given that we come from similar (lack of) backgrounds, and she produced some great work and got into the program.  Even though realistic drawing isn’t her greatest skill, she was able to clearly get her point across, which I think is way more important than being able to perfectly draw something from real life, at least in this field.

Q&A:

Here are the main takeaways from Gray’s responses:

What are you most passionate about and why?

  • lots of things! // social & ethical issues, especially consumerism and waste // works at Lush // roller skating // “I am, to quote the great Michael Gary Scott, not super-stitous, but I am a little stitious. Which is to say that I’m a bit spiritual.”

What did you enjoy about design foundations and what was challenging?

  • “I loved most of the professors, hated the competition and stress.” – yep, I agree 1000%

What makes a good gift?

  • “You tell me” – she’s challenging

What is your favorite design media?

  • “I won’t make it so easy for you or limit your medium options… but I will tell you that I do NOT like video games.”

What is a defining feature about yourself?

  • high energy, straightforward, strong communicator

Anyone who knows you knows that ______

  • “I love touch, I’m always wearing perfume, I could talk forever about my job, and I won’t bullshit you.”

What do you want to do with your design degree?

  • retail store design // tiny housing // freelance

What made you choose design?

  • not totally sure, but two advisors told her not to switch because it’s so competitive

Why did you choose interior design?

  • passion for people & impact of environment on them

 

Programs/apps:

Screen Shot 2020-03-26 at 2.09.21 PM.png

GooseChase – create your own scavenger hunts

This seems right up Gray’s alley!  She lives near campus and has recently picked up roller skating, so this would be a great way for her to explore.  The website doesn’t give a lot of direction, so it’ll take some playing around to figure out exactly how to use it.

 

IMG_1818.jpgIMG_1816.jpg Animation Desk & FlipaClip – these are both flipbook-stlye animation apps that are simple and easy to use.

 

 

IMG_1817.jpg

Shapr3D – 3D modeling

I downloaded this app a while ago to play with.  The tutorial makes it seem pretty easy, but I had a really difficult time trying to create things from scratch.  I think it’s the kind of thing that just takes a lot of practice and time to get used to.

IMG_1815.jpg

Procreate – “raster graphics editor app for digital painting”

I love this app! I use it all the time for sketching.  It has tons of different brushes and features.  It will also automatically record a time lapse of your canvas that you can watch back at any time.

IMG_1819.jpg

Zinnia – this is a digital bullet journaling app, but it is very limited unless you pay for the premium version.

 

 

 

QUOTES

I found a ton of quotes that I really liked, but a few stood out to me that I think would fit well with Gray and my gift ideas:

“Everything is design. Everything!” – Paul Rand

  • I like this one to go with my animation idea – Gray stitches up her clothes because she doesn’t want to waste anything, but she does it in unique and creative ways that I would consider design.

“Great design is a multi-layered relationship between human life and its environment.” – Naoto Fukasawa

  • This quote reminded me of one of her answers: “I love the impact that environments have on people, I believe that we are where we live…”

 

YAY!!!!!!!!!!!!!!!!!!!!!!!

I have two main ideas: GooseChase and an animation involving two of Gray’s passions: rollerskating and embroidery/mending.  I was working with two different apps yesterday, Animation Desk and FlipaClip.  They are pretty limited, combined with the fact that I’ve never made an animation before AND drawing is not my best skill – I was seriously considering scrapping the idea altogether.  Then I remembered that my favorite drawing app, Procreate, was recently updated to include animation!!  I explored the new feature a little bit, and I think I will have a much better time now.

Update: yes – Procreate’s animation feature is way easier to use than the other apps.  To get used to the feature, I decided to animate the quote:

 

 

To incorporate the “wrapping” directly into the gift, I chose to open the animation with a bow being untied.  Then, the ribbon will fall to the ground.  This will be what trips Gray when she is roller skating, causing her to rip the knee of her pants.  Either she will sit on the ground and immediately being mending them, or it will jump forward to her sitting in her room, fixing them.  She will embroider a small flower over the hole.  To end the animation, the quote will appear.

The untying of the bow was really difficult to visualize, so I found a ribbon, tied it, and recorded myself untying it so I could copy what it looked like.

I decided to create a combined storyboard-animation with five animations.  Procreate can only handle so many frames per canvas, so I had to make many different canvases, export the video clips, and stitch them together using InShot.  The first three frames were pretty easy once I figured out what I was doing.  I sketched a pair of roller skates, copy & pasted them, and moved them slightly on each frame.  The fourth frame was the easiest because all I had to do was write the quote and then copy, paste, and erase.  I was really dreading the fourth frame, the sewing, because I was unsure of how to visualize it, but I watched a video on visible mending (https://www.youtube.com/watch?v=CFhsftQzugo) that helped a lot.  I knew how to visualize it, but creating the animation took forever because there were so many frames and it was just super complicated.  I severely underestimated how long that clip would take and almost had to use my second chance card.  Luckily, I was able to finish in time.  Here are some progress frames:

 

Click here to see the individual canvases as GIFs:

 

 

 

 

 

 

The goal of this gift is simply something to make Gray smile!  I really enjoyed getting to know her, and she was a huge help with my portfolio.

UPDATE: Here’s Gray’s reaction to my gift! I’m so glad she likes it! (She says “Oh no” when the skater trips)

I made a few edits after the critique to improve the intro and outro.

 

REFERENCE IMAGES

“ROLLER SKATES.” Google Image Result for Https://Www.powerslide.com/Bilder/_custom/Kategorien/sports_rollerskates-Dance.jpg, POWERSLIDE, images.app.goo.gl/b7BDmPBwFKEQeRWg8.

 

Opensubdiv. “Ribbon Bow Low-Poly 3D Model.” Google Image Result for Https://img2.Cgtrader.com/Items/1954573/10e6b8380e/Ribbon-Bow-3d-Model-Low-Poly-Max-Obj-Mtl-Stl.jpg, Cgtrader, 20 Apr. 2019, images.app.goo.gl/JiK2ERs7ZwxJrWaR9.

 

Quote: Etokhana, John. “Everything Is Design. Everything!” Medium, Korapay, 21 May 2019, medium.com/korapay-content/everything-is-design-everything-ec5bf5d5c3a5.

Face Off

My partner Avery and I started off by making lists of several dualities and picking the ones we liked best.  We developed function/beauty, organic/geometric, and weapons/defense mechanisms. Function/beauty was based on face masks in Asian culture – I believe they were first used because of pollution or fear of contracting an illness in a highly populated area, but they became embedded in fashion.  Organic/geometric had very strong connections to elements and principles, but we had a hard time creating a narrative.  Weapons/defense mechanisms was about two people fighting and the different things they would use in the fight.

After several days of going back and forth between ideas and not feeling completely confident in any of them, I had a new idea: free vs restrained, using wings and a cage.  The wings would go on my arms and shoulders, while the cage would go around Avery’s head and possibly upper body.

I was much happier with this new idea, but it wasn’t completely where it needed to be yet.  I knew that it wasn’t connected well enough to the elements and principles, so I talked to Deb and realized that the pieces were very static.  Then I came up with the idea of wrapping the wings around the body into a straitjacket and putting a door on the cage that would open.  However, there was still a disconnect; the pieces didn’t need each other.  So what if we made one piece that embodied both parts of the duality? This is where the idea became really strong – we decided to create a set of wings that would wrap around the body and form a cage.  I had the idea to cut off the ends of the wings (like clipping a bird’s wings) so that they would have straight edges that would line up when they were wrapped around the body. I created a design and we quickly created a physical prototype out of roll paper and Bristol.

We also thought about using soft fabric or cotton balls to texture the inside of the wings and aluminum foil or metallic paint for the outside, but realized that that might take away from the simplicity of the elements and principles used in the design (Deb suggested we use sounds in the video presentation to account for the additional sense). After we had an idea of what it would look like physically, Avery created a new design that looked more like both wings and a cage, which I sketched with proportions.  I then cut the image up into parts that would fit on 19×24 pieces of Bristol and used those to create vectors for the laser cutter.

Since I created the vectors separately, they didn’t end up lining up perfectly so Yang helped us create one vector that we then cut up.  We used the laser cutter again, although there were issues with it not fully cutting through in certain places due to either the bed not being level or the laser being out of focus, so we had to cut out some of the parts by hand.  This time though, they lined up perfectly!

Next, we added strips of cloth to wrap around my arms and hold the wings on my body (I didn’t realize how difficult it would be to hold my arms straight out for several minutes!)

Filming the video was stressful because we couldn’t really practice since the wing tips are cut off, but it all went pretty smoothly.  I downloaded some royalty-free sounds of wings flapping, scissors snipping, and a metal door closing and added them in at the appropriate times to incorporate another sense.

 

CONCEPT STATEMENT

Our body augmentation is based on the duality of free and restrained, contextualized by a bird’s wings being clipped. Clipping a bird’s wings eliminates its ability to fly, and therefore its freedom, effectively restraining it. The wings, once cut, form a literal cage around the subject to represent the effect of clipping. Although wings and cages are vastly different forms, they have some similarities in line and shape; both contain vertical elements (feathers and bars) as well as repetition and symmetry. With the ends of the piece still attached, it appears more wing-like because of the extended outer feathers, but when the ends are clipped off, it turns into a cage. There is one piece instead of two to reinforce the idea of duality: two different things at once. Additionally, there is one irreversible transformation from free to restrained; you cannot reattach the wings. The decision to create one piece that turns into something else makes it much more dynamic.

The wings are made of multiple pieces of Bristol paper connected with tacky glue and attached to the body using strips of cloth. Bristol is sturdy enough to hold itself up but light enough to not be bulky.  Fabric is a flexible and comfortable means of attachment that does not carry the threat of tearing with movement.  The ends of the wings are secured with small strips of paper to make the cutting process easier.  Sounds of wings flapping, scissors snipping, and metal bars closing are audible in the video to incorporate a supporting sense.

 

Narrative Style

EXERCISES

Character Swap

The two movies I picked were Ready Player One and Romeo & Juliet.

In-Class Style Exploration

 

RESEARCH

WRITING

I used to write a lot of short stories when I was younger, but I became super self-critical to the point where I didn’t like anything I wrote because I thought it was too cliché or childish or unoriginal, so I haven’t written in a long time.  I decided to write a simple story about something relatively mundane and realistic.  After I finished, I felt more confident so I wrote another, more adventurous story.  I then broke the story down into the main events and described what would happen in different genres.

Story 1:

Story 2:

 

STYLE

I explored three main styles: impressionism, cubism, and Strange Planet (comic by Nathan W Pyle).  I examined work and did some research to break the styles down into their major elements and principles, then used those to create the opening scene in my story.

 

 


The story itself doesn’t have an overwhelming mood because I wanted to use the visual style to create it; although some of the events could be very stressful, I wanted the story to be more whimsical and storybook-like.  Strange Planet was by far my favorite.  Kayla suggested that my character was too much like the “beings” from Strange Planet and I was doing more copying than mimicking style.  I decided to create different, more alien-like characters and focus on the basic ideas of the style instead of copying the actual characters, and it became much more successful.  Strange Planet uses primarily blues and purples, as well as pink and green.  I decided to use red (danger) for the climax, where the leading alien is chased by a monster, and yellow (happiness) for the resolution.  When creating my characters, I focused on using imperfect, hand-drawn lines to create simplified shapes which I filled with solid colors and shaded around the edges.

Here’s how I created them:

 

STORYBOARD

I quickly sketched out my plan for each frame of the storyboard:

After creating this plan, I decided to remove scenes 4 and 5, but ended up combining them into one instead of removing them both altogether.  I also removed scene 7 because it seemed unnecessary; it would be clear in scene 8 that they had fled to a new planet.

For each scene, I used the original forms of each character and traced over to change their pose/stance.  Here are some examples:

Feedback from swap critique:

Some people had trouble identifying the climax scene, where the lead alien is chased by a monster.  I had distinguished it by using red, but it is rather early in the story, so I added a canted angle to make it more extreme.  I also added a scene of them landing on the new planet with the lead alien exploring before the climax.  Finally, I went back and made some of the black lines heavier because they seemed too thin when at the actual 11×17 scale.  Finally, I added hand-drawn, thick lines around each frame in the storyboard to mimic the borders from Nathan W. Pyle’s comic.

I chose to title the story A Strange Opportunity as a play on the inspiration style and a hint that the robot they find at the end is the NASA rover Opportunity.

Here are some of the highlights of my process of creating my characters & scenes:

 

Style reference:

Pyle, Nathan W. Strange Planet. Morrow Gift, an Imprint of William Morrow, 2019.

Hiding in Plain Sight

EXERCISE 1

Our group picked adjectives for the first exercise and we each made a list of words and narrowed them down to the best few.  Then we shared and collectively picked the best 5 and assigned one to each person.  My word was prickly and I found a really cute font online called Spiky that looks like a cactus.  I imported it into Vectornator but since it was from an outside source it was hard to manipulate the line weight and turn it into an outline.  I put each letter in an individual text box and placed them so that they were all touching just enough to keep them together and used the pen tool to trace the outline.

bottom is the actual text, top is the traced outline

We tested different settings and found that 52 mm/sec would just barely cut all the way through, and 80 mm/sec would burn in the little arrow shapes.  We just used a scrap piece of chipboard, so some of the word is cut off, but it was helpful to figure out how the laser cutter worked.

A few of the connections were a little weak, so I moved the letters closer together and retraced.

This design worked perfectly! Below are all of our words:

 

EXERCISE 2

The first thing I thought about incorporating into a letter was a dog; my biggest passion is rescue and I spend as much time at my local humane society as possible, so that was something I really wanted to represent.  I started by drawing a lowercase a with a very thick brush and placing an image of a dog’s head in the middle.  While drawing my initials in different styles, I saw something that resembled the head of a hammer, which reminded me of a mission trip/camp that I go to every summer where we do some basic construction.  I thought the hammer looked kind of like a lowercase r, so I decided to put them together.

Here’s an example of how I created the negative space effect using images:

 

I liked my ideas, but since I just drew the letters instead of using an actual font, I thought they looked a little unfinished, so I looked around online for a font that would work with both letters, redrew the designs, and turned them into vectors by tracing them with the pen tool.

There wasn’t any of Deb’s wood left when I went to cut, so I just used what was left in the wood shop which is why the two letters are different sizes and materials.  Here are the final products:

 

SPACE ANALYSES

 

INITIAL IDEAS & DEVELOPMENT

The first thing I did was search up a bunch of riddles and record any of the ones I liked that I though could work well with a physical space.  Then I grouped similar ones and wrote a few notes about what kind of place would work with them.  The first ones I gravitated towards involved the elevator or stairs.  I thought the elevator could be really cool because the doors opening would be a great reveal, but it would be a difficult place to work with since it literally moves.  I liked the stairs because they reminded me of a sideways version of one of the anamorphosis examples in class:

 

I showed Deb a few of my riddles, and when talking about the ones involving light, she took me to look at the spotlights outside of the second-floor foundations studio, which gave me the idea to work with shadows.  I decided to go with the riddle, “What can fill a room but takes up no space? Light,” and I wanted the answer to be revealed by turning on the lights which would cast a shadow spelling out the word.  First, I used a piece of clear tape with tiny pieces of black paper; there was no shadow.  I decided to try a more opaque material, so I used the laser cutter to cut the word out of chipboard; still nothing.  Next, Deb helped me to move the other two spotlights out of the way so only the center spotlight would shine on the wall and I used strips of chipboard to stick the word out from the light; nothing.

I figured out that I was not going to be able to cast a shadow if the word was close to the light because it was somewhat diffused.  Finally I noticed the shadows cast by the t-pins stuck in the canvas and decided to use them to spell out my word.  With the lights on, I arranged them in such a way that they formed letters.

 

 

 

 

Yay! I was super happy with the answer reveal!  The next step was to finalize the poster with the riddle.  Originally, I worked digitally to create letters with different 3D effects.  I played around with different perspectives, including isometric and parallel, to make the words seem to recede into the wall, but they all ended up looking a little wonky, so I decided to go with the classic 3D with shadow.

However, the poster did not blend in with the space.  I considered different types of paper, but even so the letters would stand out from the plain background.  At first, I was not worried about the riddle necessarily hiding in plain sight, because the answer did that very well.  Eventually I decided to make the riddle blend in, too, by filling the board with artwork and creating my poster in the same style.  Since I wanted to make my letters appear 3D to play around with the gray area between 2D and 3D, I asked my peers to donate some of the perspective drawing exercises we did last semester.  I then created my poster by hand using one-point perspective, pencils, and 14″ x 17″ drawing paper to match all the other pieces.  I also placed many more t-pins in random clusters around the board so that the ones that spelled ‘light’ would not stand out too much.

I do not feel that placing the work outside of the 24″ requirement is a violation of the brief since the area is intended to displaying work. The work is meant to exemplify the purpose of the space, while the actual riddle and answer are contained within the 24″ constraint.

 

CONCEPT STATEMENT

What can fill a room but takes up no space?

The spotlights above the white pin boards are integral to the reveal of the answer to the riddle: light.  Most other lights in campus buildings are fluorescent or halogen lights, which are very diffuse and not conducive to creating recognizable shadows.  The spotlights fall on t-pins stuck into the canvas in a particular pattern to create shadows that spell out “light.”  The riddle itself is built into the area under the lights where work from foundations studios is often displayed.  Since part of the project is focused on 2D, 3D, and 4D, perspective drawings are hung on the pin boards.  In order to hide the riddle in plain sight it is written in pencil on 14″x17″ drawing paper using one-point perspective, identical in material and style to the other pieces.

The core of this installation is to examine the characteristics of 2D and 3D. Most people would define 2D as flat and 3D as having mass and volume, but there is a gray area between the two; a piece of paper seems 2D but could be considered 3D when bent or folded.  To demonstrate the fluidity of dimensions, the riddle is presented on a flat piece of paper but drawn using one-point perspective to appear 3D.  The answer to the riddle is formed by pins that cast shadows when the lights are turned on. I consider the shadow to be completely 2D since it exists on an X and Y plane with absolutely no volume (compared to a piece of paper which may be a fraction of an inch thick), but light and shadow are difficult to define within dimensions.

 

REFERENCE IMAGES

Wolfie-Undead, and Jason Mikles. “American Pit Bull Terrier Drawing Line Art – Red Nose Pitbull Drawing, HD Png Download.” Google Image Result for Https://Www.kindpng.com/Picc/m/245-2452076_american-Pit-Bull-Terrier-Drawing-Line-Art-Red.png, KindPNG, 2013, images.app.goo.gl/8nSGdJpf6AuL8ijD7.

The Dynamic Page

EXERCISE 1 – MORPH

The two slips of paper I pulled were headphones and knight’s helmet.  I decided to morph them together by using the materials of the helmet and the form of the headphones; the organic shape of the headphones became sharper and metallic, and adopted the plumes from the helmet.

 

EXPLORING & VISUALIZING CONCEPTS

I first made a list of things that came to mind when I thought of opposites: dead/alive; winter/spring/summer/fall; sun/moon; pollution/environmentalism; old/young; organic/mechanical; reality/fantasy; fresh/rotten; angel/devil; earth/space; permanent/transient; factory/greenhouse; right/left brain

Even though dead and alive is a little cliché, I had this idea of a black and white skull transforming into a bright, color-blocked face through the Venetian blind fade effect.  After talking to Zach, I decided I wanted to make the movement go up and down instead of side to side in order to mimic the motion of an eyelid opening and closing, something I find very significant in the life-death and death-life transition.  In TV shows and movies, you always see people’s eyes closing, or someone gently closing their eyelids, when they die; and often when someone comes back to life after being pronounced dead, there’s a dramatic moment where they take a huge breath and open their eyes.

 

I also explored the idea of seasons; I wanted to use a tree and rotate the different seasons over the branches.

Finally, I played around with the idea of left brain vs. right brain, but no mechanic or dynamic element came to mind.

 

PROTOTYPING

The first mechanic that I made was the Venetian blind/dissolve pull-tab.  Most of the tutorials I found (which took a lot of digging) didn’t have measurements, plus I knew that the pieces of paper would get stuck on each other going in and out so I decided to make my own modified version.  After some thinking and reverse-engineering, I came up with a template; the first time I tried didn’t work so I made some adjustments.

 

It worked pretty well, but I knew that trying to create images on it would be hard for two reasons: 1) I would have to construct my image and then cut it up into sections and attach them to the blinds and 2) even though I had figured out a way for the two main pieces of paper to not get caught on each other, adding layers of paper on top would make it nearly impossible to move smoothly.  The only things I could think of to keep all the layers in place with their edges secure would be to smother them in glue, which probably wouldn’t end well, or laminate/cover each section in a clear material, which would be pretty much impossible with the restrictions.

 

Then I tried to make a flexagon, which includes four different images that are revealed by folding the paper in various ways. (it’s kind of hard to explain in words – look here to see an example https://vimeo.com/30392799) The tutorial I used wasn’t very descriptive so I had to try a few times before I figured out exactly what to do.  And when I figured it out, it was SO satisfying to keep flipping it over and over and over.  When I was trying it out, I just used solid pieces of paper labeled front 1, etc. so I could keep track of where things went.  I wanted to make a diagram so I could figure out how I would have to arrange my images so that they would line up properly.  The flexagon is made of four pieces of paper, each with a front and back.  The diagram shows the four different arrangements that will occur once the flexagon is assembled and folded (top row), as well as the front (middle row) and back (bottom row) of each piece of paper:

 

This is when I realized that the two areas boxed in red (B4 and B1) would stay the same from image 2 to image 3, meaning that I wouldn’t have 4 distinct images; the middle two would have some of the same elements.  I will have to keep this in mind when designing my visuals, but I don’t consider it an obstacle; I think it works really well with the concept of transforming one thing into another.  I was really mesmerized by the infinite folding of the flexagon as it continually turned in on itself.  Then I started thinking about the morph exercise.  What if I showed that sort of transformation, with the in-between states?  What if I showed two things infinitely turning into each other, just like the flexagon infinitely turned in on itself? Originally I just wanted to show the discrete states of being alive and being dead, with a very stark transition.  At this point, I forced myself to let go of that idea that I had been holding onto so tightly, because I had a new idea that worked better in so many ways!

THE NEW IDEA: a forest that is destroyed, turned into a city, which is abandoned and then overtaken again by nature.

I started to look up images of deforestation and nature overtaking civilization, and they were very powerful, especially considering the current climate.

I used procreate to create 4 images:

Then I printed out the linework and traced on tissue paper and cardstock; I tried to use as much tissue paper and as little yardstick as possible because the thinner material wouldn’t interfere with the mechanics, while thicker paper made it very difficult to fold.  I assembled each on a 10″ x 10″ piece of paper, then used 4 5″ x 10″ pieces of paper to create the flexagon; finally, I cut up the images so that the flexagon would still be able to fold properly and glued them onto it.

I realized when putting it together that I forgot to make the two side panels the same from nature to building, but I made the best fix I could with the time I had and the overall effect is still there.  Out of all the physical projects I’ve done, I think this was my worst job on craft.  However, I’m really not upset because I challenged myself on this one and used some difficult materials (tissue paper is HELL to cut, especially tiny, intricate details).  Although the craft isn’t perfect, it’s not too bad, and I don’t think the small flaws detract from the overall design; I’m glad I took on such an ambitious task!

nature
building
city
reclamation

 

REFERENCE IMAGES

THORNINSTRUMENTS. “Medieval Greek Corinthian Armour Helmet with Red Plume Knight Spartan Helmet Replica.” Amazon.com, Amazon, Medieval Greek Corinthian Armour Helmet with Red Plume Knight Spartan Helmet Replica.

 

 

Zindel, Bailey. “Body of Water Surrounded by Trees.” Beautiful Free Images & Pictures, Unsplash, 30 Sept. 2017, unsplash.com/photos/NRQV-hBF10M.

Sensory Abstraction

MIND MAPS

When I thought of a sensory experience, a concert came to mind.  This one felt the easiest to do and lent itself pretty easily to abstraction because it’s such an overwhelming sensory experience, especially light and sound.  I thought it would be really cool to do the project on, but I didn’t have a strong emotional attachment to it.

 

 

 

 

On the other hand, I was too emotionally attached to this one.  I volunteer at my local humane society and spend a lot of time building relationships with dogs, but this one was just special.  Her name was Ellie, and she was one of my favorite dogs in the whole world; we just clicked for some reason.  Unfortunately, her story had a sad ending and I knew trying to do a project on her during the stress of finals season would just be too much for me.

 

 

 

This one was the sweet spot.  A couple summers ago, I got to go to Europe and stayed in Antibes, France for a week.  It was my second time being out of the country (the first was Scotland when I was four, so it really doesn’t even count) and I was awestruck at this place.  It is my favorite place in the world and I hope I can visit again someday.  In the mornings, there was a farmers market in this outdoor pavilion with fresh fruits, vegetables, meats, and bread.

 

 

 

I edited and refined my mind map for the outdoor market and turned it into this:

 

ITERATE

I crossed out a few more items once I began to iterate as well because they didn’t feel as important to the experience that I wanted to illustrate.  Noted by the thumbnails are the elements & principles used.  I made the notes (light purple/blue) during our group sharing; we agreed for the most part on the most successful iterations (salty, the last one for vibrant colors, combining background chatter and busy, considering using soft & fuzzy and separated/enveloped in my own space as effects rather than graphics).  I didn’t get a ton of feedback, which is usually the case when we do mini critiques with our table groups, maybe because we see and talk about each other’s work every day or because we are afraid to criticize the people we are closer with.  I know it can be more time-consuming and less practical sometimes, but I really get a lot more out of critiques when we switch tables and get more perspectives.

 

IDEATE

Maddie suggested that I try combining my peaceful and salty iterations, so I played with this by making them flow into each other.  I liked the concept, but it just turned out kind of messy.  What I really liked about this one was the background texture I created using the watercolor brush.  I also included an iteration of vibrant colors.

 

 

 

 

 

 

In this one, I wanted to play around with the color circles, using a Van Gogh style.  I also incorporated emphasis from my enveloped in my own space iterations.

 

 

 

 

 

 

 

This is the one I decided to go with.  I really liked how all the pieces fit together, and the colors worked really well together to create the warm, uplifting mood I intended.

 

 

 

 

 

 

 

Lazy, meandering stroll: this iteration uses line to illustrate the idea of slowly wandering around the market with no intention, just looking and taking it all in.  In the graphic, I repeated this squiggly line over itself a few times, the same way I went through the market multiple times.  The places where the lines get sort of squeezed together represent slowing down or stopping in a certain place.

 

 

Busy/background chatter: The market was a very busy place with lots of other people walking around and background chatter; I used proximity to communicate this.  However, the busyness only takes up part of the graphic because most of it was drowned out and it wasn’t overwhelming at all.  It was noticeable at times, but mostly I was in my own bubble, as illustrated by the next iteration.

 

 

Separated/enveloped in my own space: I used line to create shape and emphasis in this iteration.  The idea behind this was to show the focus of my experience, what was right in front of me, and not all of the other things going on at the same time.

 

 

Vibrant colors: The market was filled with all kinds of bright colors, and I wanted to illustrate this with many different focal points.  I ended up creating circular, organic shapes since most of the color came from organic fruits and vegetables.

 

 

When I printed out my graphic, I chose not to include the circles because I was going to create them physically as part of my 3D element.  I titled the piece Antibes Côte D’Azure after the location.

 

MOUNTING & CONSTRUCTING

I roughly traced some of the circles on Bristol paper and cut them out, then painted them with watercolor.  When they dried, the paper curled, so I placed them between two pieces of foam board with a heavy object on top to try to flatten them out, which helped a little.  The next day I stacked them using foam and tacky glue and glued them onto the poster.  I used different amounts of foam to stack them in order to vary the heights.  I also glued a piece of twine on top of the right-most squiggly line to add texture and make the overlapping lines look more 3D, adding some movement and dimension.

I am so upset about what looks like bubbles in the lower left corner! I never noticed them when working and even after seeing this photo I looked again and they seem to be extremely slight indents or bubbles that only appear when there is light form a certain angle due to the semi-gloss finish of the paper. They are not noticeable at all in person, but show up every time I take a photo because of the lighting.

 

DESIGN STATEMENT

This poster represents walking through an open-air market in the coastal French town of Antibes on a summer morning. Both the outer lines that create the circle and the spattering of dots cut off by the squiggling lines illustrate all of the busyness fading away in the background as you are focused on your own space. The overlapping squiggling lines are representative of a lazy, meandering stroll around the market. Warm yellow brings out a sunny, happy feeling, and soft blue reflects calmness and salty seaside breeze. Both the central yellow circle and the cutout circles are organic and imperfect around the edges to bring in an element of realism; the twine resembles the texture of the burlap that covered the tables. The market was full of colorful fruits and vegetables that competed with each other for attention; this was the focus of the 3D element, because they all stood out but there was no single focal point. Finally, using watercolor makes it feel more home-made and real, like the market (versus a grocery store).

Pattern & Scale

ITERATIONS

I was SO confused at the beginning. First of all, it was confusing to differentiate between depth and volume, since they are so interrelated.  I was also confused about the layering and how the 3D design was supposed to be related to the graphic – did it have to look exactly the same as a plan/top view like the 2D to 3D orthographic?  I really didn’t know what I was doing so my initial iterations were not great.

Depth:

Volume:

DEVELOPMENT & DRAFTING

During class I got a better understanding of the project and decided to use my symmetric design instead because the spiral was giving me a ton of issues, mainly that there were just so many details and tiny lines, and it being a spiral rather than concentric circles made it very difficult to create layers since everything was overlapping and there was no clear cutoff of sections.  Switching to the symmetric design made prioritizing depth and volume much easier.  I really wanted to utilize the gradient effect I created with small lines to show depth and it came across very effectively.  My first design for this idea had a bunch of different parts: the outline, the gradient, the vertical lines, and the top section.  Within the gradient stair-step section, I wanted to cut out sections where the vertical lines would be and then add in parts that would also step down (see bottom right).  After practicing a little with the Bristol, I realized that would be really difficult and decided to redesign it so that each layer included all the parts and I wouldn’t have to try to fit them together at the end.  I also chose to convert the curves in my graphic to points for two reasons: first, I wanted to use those shapes to literally point the eye toward the lowest area/focal point; second, creating all those curves, both large and teeny-tiny, was extremely time-consuming and almost impossible to perfect.  I really wanted to put my effort into making sure my design and intent came across and felt that trying to include all those little details would detract from the bigger picture.  I also decided that I wanted to use something to space the layers out, since the 10 layers seen in the right side of the photo added up to about the thickness of one or two pieces of foam.  Instead of using foam or chipboard, I bought some tiny adhesive foam squares that were really helpful so I didn’t have to cut and glue tiny pieces of foam.  For the draft critique, I didn’t get a ton of constructive feedback for several reasons; first, I was sick all weekend and asked for an extension, then spent 8 hours in the studio on Monday and cut out all of the layers for my depth piece but had nothing for volume.  I got a lot of affirming comments about what I did have, which made me very happy and reassured me that my intent was clear and I did a good job prioritizing depth.

 

CONSTRUCTION

I began by making blueprints on my iPad of each layer and all the measurements, which took quite a while but were really nice to have before I sat down to start cutting.  My depth piece consisted of about 10 layers and took me about 8 hours to complete because of all the tiny measurements and details.  I could’t just make one design and then trace it a bunch of times because each was slightly different from the last.  To connect the layers, I used two foam squares layered because they weren’t very thick.  For the first couple of layers, I used 6 pairs, one on each corner and one in the top and bottom middle.  I’d seen other people stacking, and those who just put support on the outer corners seemed to have trouble with the center caving in a little, so I knew I would need to have support there.  I decided to just put the squares on the top and bottom middle for the rest of the layers instead of all around the border because it didn’t seem necessary.  This caused some unevenness of the layers on the outer sides, but didn’t affect the design as a whole, especially because it’s meant to be viewed from above.

My volume piece was much easier to cut, but more difficult to assemble.  I initially wanted to build this one similar to the way we created the last 3D project because I thought it would take less time than cutting a bunch of the same layer, and I also thought that actually creating a volumetric shape would emphasize volume more than layers would.  I tried this, but it took a while and didn’t line up quite right at the very end.  I decided that building wouldn’t be any faster than layering and would probably end up being much more difficult, so I stuck with the layers.

Drawing and cutting the layers was easy because I could just trace and make duplicates of the same layer.  The bigger two base parts were easy to put together, but I really wish I brought tweezers to layer my 1/8th x 1.5 inch rectangles which took quite a lot of time.  I was diligent about stacking all those tiny pieces, and it paid off very well in the end with a very clean, symmetric piece.

FINAL

I was really happy with these! I think they are very clean and do a really good job of prioritizing depth vs volume.

Imagined Journey

I was super overwhelmed at first with the lack of specificity and all the infinite possibilities, but I think I have a pretty decent idea already (day 1) which surprised me because it usually takes me a while to come up with a solid idea for normal projects, much less this massive, open-ended one.  I want to create a map/model of the section of campus that I went through on my route.  I’ll map out everything flat, but for the buildings that I entered, I want to create models so they stand out.  I also want to include a can, water bottle, and toy police car since those were the main focuses on my original journey and didn’t involve buildings; plus, they can serve as a tactile factor.  I also want to include little notes in certain places to show my thoughts, and if I can find it, a business card about the Book of Mormon from when some girls tried to recruit me while I was sitting to sketch in the south oval.  For the other sensory piece, I think I might play the playlist that I was listening to at the time, or maybe even record my “thoughts” and play them out loud (e.g. “this is so weird, I’m just stopping in random places to take pictures of random things with my phone, people are gonna think I’m so creepy,” “Wait, what bus stop?  Does it really matter, I know the general area I need to get to, it’s not a big deal if I go a little bit off the directions.”)

 

ANALOGY EXERCISE

Thinking about all the things I have to do in a day and when I’m going to do them is like a puzzle with way too many pieces. Some things are bigger pieces that require more time, like working on studio projects. Some things have to be left out so more important pieces can be used. In this puzzle, I included the pieces that I usually (try to) get done every day, and left out the pieces that often get neglected (don’t worry, I shower most days). Some days, I might swap out pieces, like relaxing instead of reading for my psych class. It’s kind of like that saying where you get to pick two of three options: sleep, social life, and academics. You can’t have everything.

 

MIND MAP

When I first went on the journey, I wasn’t really focused on sensory aspects, but more so just looking for things that I thought I would be able to draw for the project.  I didn’t want to try to fabricate or imagine what the senses were (e.g. smell of fresh grass) because it didn’t feel authentic, so I focused more on thoughts, feelings, and ideas.

There were a few points that I wanted to focus on:

1) How places are connected/located in relationship to each other.  I took a couple classes at OSU through CC+ last year but because I didn’t live on campus and only visited a few buildings, I’d always take the bus from the Buckeye Lot to whichever stop was closest to my class and didn’t navigate a lot of campus so I really didn’t understand where buildings were in relation to other buildings.  Over the first few weeks of classes and going on this journey, I really started to understand how everything was connected and it was kind of a revelation for me; it made campus feel a lot more familiar and personal.

2) Anxiety/overwhelming qualities.  When I went on this journey, I decided to take pictures of the things that I wanted to draw for the assignment instead of stopping and drawing them right there.  I was very self-conscious about the fact that I was just stopping in random places and taking pictures with my phone and I knew I looked super weird.  I tried to ignore other people and just stay in my own bubble by putting in earphones and listening to music.  It was also a little overwhelming because I had a lot of things to think about at once: reading the directions, navigating, making sure I wasn’t stopping in from of people, looking for things that I thought I would be able to draw, worrying about how creepy I looked, etc.  I can be a pretty high-strung, anxious person and sometimes it feels like my mind is going faster than I can keep up with.  This chaotic, fast-moving quality eventually became something that I really wanted to incorporate into the project, so the high speed and shakiness of the video, although a little off-putting, doesn’t feel like a detriment; I think it helps reinforce the intent and the feelings that I want to evoke.

 

IDEA DEVELOPMENT

I started shifting more towards the recording aspect and away from the map/model.  I still wanted to have some sort of map to show how things connected and where I was going, but I decided that sketching a really detailed map or physically creating the buildings would take up a lot of time but not add enough substance to the project to warrant the effort; instead, I wanted to focus my energy on creating a video- something I’ve never done before.  A video would help add context about what was going on, rather than just where I was.

Creating the map with something to show where I was on it at any given time was really difficult; I had a bunch of different ideas about how to approach it. I wanted to use the time lapse feature on Procreate, but I needed to use a screenshot from google maps to reference and that would show up in the time lapse which ruled out a few ideas (e.g. drawing the actual map as I went through it – I would draw Hayes, then part of the oval, then Hagerty, the union, etc. as I went through the journey).  Another problem with the time lapse was that it didn’t take a picture every x amount of time, but every stroke.  So, if I drew one long line, even if it took 20 seconds, it would just show that line appearing all at once. Before figuring that out, I tried a screen recording app, but that would record exactly what was on my screen, so I couldn’t zoom in or move the canvas around.  After I figured out how the Procreate time lapse worked, it was a lot easier because I just used very short strokes to create my path instead of only using a few longer ones.  Once I had a good video of the map with the moving path on it, I used an app to overlay it on top of my time lapse; it ended up working pretty well, but during one of the initial critiques someone commented that it was kind of confusing and suggested that I try making the map a thumbnail rather than overlaying it over the whole screen, which I ended up liking better.

 

The next step was to make the map match where I was in the video, so I had to speed up and slow down parts of the map.  I’ve never used iMovie before, so the first way I tried to do this took forever and wasn’t perfect.  I had the time lapse in iMovie and split it into sections.  I then tried to add the map by selecting teeny tiny little clips from the thumbnail in My Media window, which was obviously pretty difficult.  After I finished doing this, I had an idea that I thought might work better.  I made the map video its own project, marked on my iPad the locations where I needed to split the video, and split it into different clips that I then dragged into iMovie and adjusted the speed.  I used the picture in picture setting to place the map in the lower right corner.  Then I added in background sounds of wind, walking, traffic, etc that I recorded and music from my playlist.  The song that I chose was Life Goes On by Quinn XCII.  I wanted to use a song from the playlist that I was listening to, and I thought this one fit well.  The idea behind the music was that I put earphones in to put myself in my own bubble and not focus so much on other people, and I think this song is something I’d listen to if I was trying to focus on myself.

My next step is to record a voiceover of thoughts and then edit the sound clips to fluctuate the volume and bring different parts forward at different times.

UPDATE – DEC 10

I watched the video all the way through and wrote down notes for the voiceover, then recorded it in VoiceMemos.  Most people don’t like hearing their own voice on recording, but I really hate it which is why I pushed that part off for so long, but I finally did it and added it into the video.  Now there’s a ton of sounds going on at once and a lot of the time you can’t hear my voice at all (great for me, not so much for the viewer).  Before I started to edit the sounds, I met with Emily to get some feedback.  The biggest thing was that there were some parts that were really shaky and some parts where not much going on, so I need to speed up the boring parts and slow down the shaky parts.  It doesn’t sound like too big of a deal, but that means I’ll also have to edit the map and probably redo the voiceover.  Then I can finally get into editing the sounds, which I have no idea how to do. Yay, Google!  Gabe was there and showed me how to save the video and how to make it loop for the gallery on Thursday.  I’ll be able to submit the file for this assignment, but I still need to figure out how to include the final video in my portfolio because it’s too big to upload directly to this site.  I can try YouTube, but there are copyrighted songs in the video so that might be a problem.

UPDATE – DEC 11

I am so happy I talked to Emily and Gabe! My video is looking so much better.  It was a ton of work – I literally had to start over – but totally worth it.  I tried editing what I already had, but changing the speeds got the map and audio off track with the video, and it was super confusing so I decided to start in a new project.  The video that I was using for the time lapse was originally taken in real time (~16 minutes), but I had sped it up in an app on my iPad to about 4 minutes, then sent it to my laptop to edit it with iMovie, so when I tried to slow down certain parts it got all wonky.  I got the original full-length video and started breaking it up into clips and speeding them up various amounts depending on the context and what I said in the voiceover.  Then, instead of breaking the map up into clips in a different project like I did before, I dragged the whole thing into the same project and broke it up and stretched it to fit right there – so much easier!  I had recorded some background sounds just walking between classes which I used in the first video, but I found out that I could separate the audio from my first full-length video.  I chopped out certain sounds that I wanted to use (leaves crunching, footsteps, buses, doors, etc.) and placed them where I wanted so the sounds made more sense in context, rather than just using one long clip of random sounds that might not match the content and had a lot of wind sound.  Finally, I laid in my super-bootlegged music (I played the song from my phone and recorded it on my iPad – credits to Quinn XCII) and broke it into chunks as well so it would be quieter when I was talking and louder to fill gaps.  When I watched the whole thing through, there were some parts that were too fast and shaky, but I had cut the video down to like 3 minutes so I slowed some of them down.  I had to readjust the map and audio but it wasn’t too bad.  There are still some parts that are shaky, but that comes down to the way I initially recorded it and if I tried to slow those parts down any more it would be awkward and too slow.  Again, I don’t mind the shakiness because it works with my intention – lots going on all at once.

My video is by no means perfect, but I am really proud of myself for tackling a whole new media and teaching myself how to use it.

Here’s a link to the video before I met with Emily and Gabe:  https://drive.google.com/file/d/1tNkTmM3FYlF7bUkm3VSkZhh-K0g6MMPr/view?usp=sharing

And here’s the final: https://drive.google.com/file/d/1oC9DJjQpE_CpJkiQ-6aH6N56AkYW9PsL/view?usp=sharing

Song Credits:

Quinn XCII. “Life Must Go On.” Spotify, 15 Feb. 2019, open.spotify.com/track/3vmsnZF4KPLjbDgZEqwTdL?si=JJ-kC-mgTsa8RF_7cOYaPQ.

Abstracted Metamorphosis

This was my favorite project so far in this class, and also the one I am most proud of! There are always more things I’d like to change, but I actually impressed myself.

BREAK DOWN/BUILD UP EXERCISE

I did rush a little on this exercise so my execution was a little lacking, but I think I did a good job with the overall concept and understanding the break down/build up process.

 

ABSTRACTIONS

I did A LOT – not to be extra, but because I wanted to give myself lots of options to work with later on.  The goats were my on-campus forms (I got to do goat yoga!!) I enjoyed breaking down the forms and found it pretty easy; it would have been relaxing if I didn’t have a million other things to do.  As far as identifying the essential components, I think I did a pretty good job.  One of my strengths was that I chose to overlap certain pieces if I felt like that would provide a better description of both the individual parts and the whole.

 

ITERATIONS

I chose a goat, a cuttlefish, and a woman holding an umbrella.  From the 15 iterations, I narrowed it down to my 5 favorites – a grabber tool and a lamp from the goat, a spaceship and a recliner from the cuttlefish, and a baby carriage from the woman holding the umbrella.  If I could have made two of my final constructions from the same original form, I probably would have chosen the recliner for ‘supports a person,’ but since the spaceship was the only thing I made that could contain multiple people, I chose not to use the recliner and instead went with the baby carriage.  That left the object for use by one person to come from the goat; I picked the grabber tool over the lamp because it was more unique and interesting, and the forms worked better in this construction.

RECONSTRUCTION

I was pretty scared to start adding detail into these new forms because I had to imagine and create it all myself, something I hadn’t done yet.  It wasn’t too bad once I started, though, and I looked up some reference images to help me understand how certain materials would look.

The following videos are time lapse recordings from Procreate so you can see how I went about building up detail in the objects:

 

FINAL PIECES

Goat to grabber tool: object for use by one person

 

Woman with umbrella to baby carriage: object that could support one person

 

Cuttlefish to spaceship: volumetric structure that could contain more than one person

 

Overall, I really enjoyed this project and I’m very pleased with my work! I much prefer working digitally, and the whole idea of breaking something down into seemingly arbitrary parts and then creating something new was really cool.  I’m really happy with my final rendered pieces – even though they aren’t perfect (nothing ever is) I keep seeing improvement. Yay for practice makes progress!

 

REFERENCE IMAGES

Supplier #2252. “Woman Holding Umbrella, Stock Image.” Google Image Result for Https://d2gg9evh47fn9z.Cloudfront.net/800px_COLOURBOX4186128.Jpg, Colourbox, 1 June 2012, images.app.goo.gl/d279ZzaSxQAZRSWr8.

 

Dasgupta, Ajay. “A Fish with Three Hearts: Cuttlefish.” Google Image Result for Https://Www.pitara.com/Wordpress/Wp-Content/Uploads/2002/03/Cuttlefish.jpg, Pitara, images.app.goo.gl/Tagi7dtR1pQFmcgx5.