该页无缩略图
Continuing the ideas from last term, a more in-depth mindmap
Alice Biolo-Under the skin
Alice Biolo - unokr skin
IHHTAAAAA Alice Bio -under skin
By researching Alice Biolo and then making some testing
His pieces are all hollowed out in the middle, which I think ties in nicely with the testing I did last semester, where I could put the materials I wanted in the middle of the hollowed out area to complete this idea of letting people touch the jewellery.
Sogard Nohohac-Uy litle Pensia
Pigmented Polyurethane Foam, Steel, Concrete
Polyurethane foam is extremely difficult to control, the foam is viscous and the shape can change randomly over the course of a few hours. The top layer dries out in minutes when exposed to the air and slowly expands from the inside out, eventually settling into a bulge. In addition to the material itself, which is difficult to control, its toxic qualities make Salman's work difficult and risky. For Salman, the spontaneous expansion of the foam material perfectly reproduces the concave and convex form of the bones of the human face, and at the same time, it is an interesting attempt to show the existence of matter.
Recording the appearance of one's loved ones is a hobby hidden in human genes, and cameras and paintbrushes are commonly used as recording tools. Iranian artist Salman Khoshroo has recently begun to experiment more with sculptural forms of expression and documentation, and has begun to explore a variety of different sculptural materials. The painter and sculptor spent his childhood in culturally diverse and open-minded New York City.
In the course of my research, I discovered this artist.
With our haptic search engine, we are giving users the opportunity to shape landmasses like a god. While shaping the sand, a camera captures the outlines of the given body, matching it in realtime with 75,ooo satellite images of islands all over the planet. As you transform the shape, the machine doesn't stop comparing, constantly returning its findings in realtime.
By using sensors, people can create their own islands themselves by going in the sand. There is a screen associated with the top and an interactive area below.
Because in the previous mindmap I mentioned that I was particularly interested in interaction design, I wanted people to feel by touching the jewellery. This designer's work is a new way to transform my idea.
"How does one find a place of which you don't know if it exists? When looking for information online, you are probably most familiar with finding such using a search engine. But the search is only as successful as you make it. It largely relies on how much you already know beforehand. The project marks an exploration into search engines that are not limited by language and into finding information without prior knowledge."
To me, this project is also an answer to the popular artificial generation of digital environments and images. If we have the right tools and approaches, we will realize that our physical reality holds everything we need and that we can find it, if we just look close enough.
I started to think about why jewellery has to be physical. Couldn't it be a combination of virtual and physical? This also ties in with my idea of touchable and untouchable. After that I started to research more about virtual jewellery and interaction design related artists.
I also started to reflect on how to combine these things together.
RCA JINGYI LI
I spoke with a friend about mystical experiences while travelling.Once, at the Potala Palace in Tibet, perhaps because of altitude sickness or the chanting of the devotees, an ineffable sensation travelled through my entire body, as it had the same frequency as the fluctuations of the universe. As I grow older, this experience becomes less and less frequent, and I want to reproduce it through my creations.
In one of our conversations we talked about mystical experiences, sometimes an indescribable sensation that spreads throughout the body, an unusual sensation, like a resonance from a mirror world, or a whisper floating in the air. Now we want to "whisper" this precious experience to the viewer. This work is not only a communication and expression of mysterious experiences and extraordinary feelings, but also a process of observing myself beyond myself. The body feels the fluctuations of the universe, and I want to recreate this experience through my work."
Material: Interactive mirror screen that can be worn in the mirror!
PanGenerator-a probable future of jewellery ?
NECLUMI is the first ever projection-based interactive necklace. Are we willing to abandon atoms of gold for the waves of light ?
NECLUMI is the first ever projection-based interactive necklace.
Are we willing to abandon atoms of gold for the waves of light ?
At the current stage the whole setup is based on iPhone running custom app and a picoprojector connected via hdmi cable and attached to the wearers chest.
Given the rate of miniaturisation of the picoprojector technology and observing the trend of wearables treated more as jewellery and fashion accessories rather than just gadgets, we predict that wearable projection and projection-based jewellery become a reality in a few years.
We're currently committed to create a standalone version of the project and we're opened for funding and collaboration.
Over the course of last term, I explored about synesthesia design.
Synesthesia is when your brain routes sensory information through multiple unrelated senses, causing you to experience more than one sense simultaneously. Some examples include tasting words or linking colours to numbers and letters.
I chose four different tactile sensations to test, choosing soft, rough, sharp and origami (crumpled). I drew different shapes, textures and colours, and when people saw these, the brain was able to send tactile messages about them. In other words, when people see these visually, they can associate them with tactile sensations, which is what I've been trying to explore.
In the following development, I will choose these four tactile senses as the main elements to create visual models about my own design.
For my first creation I will be using these three software to create, on the left is the software that helps with 3d modelling, in the middle is the software that allows you to colour the modelling, and on the right is the software that allows you to help with the implementation of AR.
Nomand
Reality Composer
First Edition Design
Since it was the first
time I used this kind of software and I was very unskilled, I tried to
recreate the material I
had previously
researched about
softness to go. The
source of the design,
which can be seen in this image on the right, was obtained through a
questionnaire from the previous semester, which then helped me to design the production of these modelling.
DESIGN SOURCES AND INSPIRATIONS
The association of the material data obtained from the questionnaire in the first semester is also the main point of view that inspired my subsequent design. Helping me to model ideas that fit the theme.
Trying to change the design
As you can see in the first design, each of my designs is very flat, without any three-dimensional data design. So after exploring, and during the material research last semester, I started to focus on designing three-dimensional soft touch. You can see in the picture on the right, I showed the grid in the middle design to be more threedimensional and could feel the soft touch.
Modelling of soft themes
The final nine styles produced look like this, and from the top, each one is full and round, which is as soft to the touch as I can express my understanding.
Materials and colours used for colouring
I try to use textures of materials that are reminiscent of soft materials in my colouring process, such as this one which is very much like the surface of a sofa.
The three on this side are still
This side uses a leather texture to go over the colouk and this colouring feels more tactile thah I thought it would.
Materials and colours used for colouring
Second series modelling
This one is all about rough textures, choosing to use leaf surface textures to create them, as well as some dune-like textures to create them. The idea is to express the roughness of the surface of the tree trunk and the touch of the sand grains.
Materials and colours used for colouring
The brown
below is the
surface
texture of the woodpile, so I chose a
similar colour.
Materials and colours used for colouring
It's still the same bark texture, but I changed the colours to create it. Used a light green and a reddish brown for the colouring, and still used some lighter texture brushes to etch the bark texture.
For the sand dunes below, I used a light green to give the feeling of touching an oasis. I think the choice of colours helps people to visualise the sense of touch.
Third series modelling
With this design, there's still something about the texture of the bark, but focusing on the crumpled effect of the origami. You can see a lot of cracked texture, trying to convey the feeling of caressing the origami paper, which will bring a sharp or crumpled touch.
Materials and colours used for colouring
Procreate
Sphere 1 2048 2048px
Sphere 1 2048 2048px
Sphere 1 20482048px
Sphere 1 2048 2048px
Sphere 1 2048 2048px
Project14 2048 2048px
Project 14 2048 2048px
Procreate
shu3 2048 2048px
shu3 2048 x 2048px
shu3 2048 2048px
shu3 2048 2048px
shu3 2048 2048px
shu3 2048 2048px
shu3 2048 2048px
shu3 2048 2048px
Sphere 1 2048 2048px
Sphere 1 2048 2048px
Sphere 1 2048 2048px
Sphere 1 20482048px
Sphere 1 2048 2048px
Sphere 1 2048 2048px
Sphere 1 2048 2048px
How to make AR
Once I've done the colouring in procreate, I can import the file into reality composer, select the image I want to overlay, and the modelling I've created can be overlaid directly on my image.
Trying to put the modelling of the production on the body via AR
Solutions about it being hard to use AR on the body
I have designed over twenty posters in photoshop and I will be making these into cards, this way people can scan the code to see the AR modelling I have created directly on the card.
Designed a QR code for my work
I think the QR code solves most of the problem because not everyone downloads reality composer on their phone or ipad, but a direct QR code allows people to scan the code with their phone and scan it with their camera into the graphic design that I make, and everyone can view the modelling that I make.
EVE BALASHOVA
Evegenia Balashova's body of work is an ecosystem of delicately balanced dichotomies.Integral to the soul of each piece is the initial juxtaposition of modern digital manufacture and traditional metalwork techniques. Those familiar with the Russian-born jeweller's work will recognise her work by its unique use of 3D printed nylon in tandem with understated metal finishings.
The flat, saturated matte finish of the 3D printed nylon provides a depth that draws the onlooker in, in contrast with the reflective nature of the gold and silver fixings. Rich burgundies and blues are classic paired with solid silver and gold tones, whilst hand-dyed ombre colour combinations draw the eye over the piece.
Balashova is now a recognised face within the UK jewellery scene, with regular appearances at prestigious nationwide jewellery showcases, such as The Goldsmithsfair, which made its digital debut this year for the first time in its long-standing history.Evidently,her careful navigation of both classic and cool, as well as a strategically curated range of price points, have garnered a broad audience, whilst the wise choice to master and explore the edges of her medium sees Balashova continue to grow as an artist.
During the tutorial with JO, I explained that I would like to make a solid object out of my modelling because I was particularly curious about how my modelling would feel, and I indicated that I was curious about 3d printing as a way of presenting a solid object.
Jo then suggested this artist, a designer who uses a combination of 3d printing and metal, to help me think about how to use 3d printing and metal together.
Start making with 3d printing
Trying to paint a 3d printed object
Since I saw EVE's work and all the ones she made were coloured, I tried to think of trying to buy some airbrush paints to airbrush the colours myself and chose red yellow orange green to airbrush. But I personally prefer the pure white effect, spray paint, but it seems to affect the sense of touch, feel the original white is more like one. If I try to make new 3d prints later, I wil keep the original colours.
How to combine metal with 3d printing
Installation of sensors
During my research I explored the device of sensors, as you can see in my
labelling, interaction design consists of a TV or computer screen to show your
production of animation or digital media, linked to sensors. The interaction is done by people doing actions in front of the sensor and feeding them back to the
screen.
MORE EXPLANATION
Animations triggered by jewellery touch or contact sensors
Completes the non-touchable tactile sensation, but the animation effect gives a visual perception of the tactile sensation.
Making sensors
At the beginning of the semester I had the start of trying to make sensors as well as writing the modelling session, but I found that I needed to try to make more things. Making the sensors took longer as well as if finished I felt it was almost a finished product, so I have put this making will be put off until next term to focus on.
First modelling animation
In the first modelling, I can see that I'm not skilled in a lot of things, and I don't even know how to use the rendering tools, but I try to model one small model at a time, so that I can learn how to use the keyframes, actions, and so on, to make the whole animation move. I will continue to learn to help deeper understanding.
Second modelling experiment
In the second modelling, you can see that I'm starting to learn how to use rendering to get the texture to give the surface. My model is also starting to take shape and is also slowly spreading outwards like the soft bodies I like to make. But I don't think the continuity is good enough yet
Third production of modelling animation
In this production, which I think has been the most satisfying effect I think I've done for myself, I changed the background to a solid white, which makes it easier to be able to see the illusion of the graphics. I've changed the texture of the render to a new colour, and I feel that the colour scheme will be much more soothing as well. It's a much better way to see the morphing and softness of the graphics than the dullness of the previous colour. In this animation, it became more continuous, which is what I wanted to see.
