Concept/Technique
Interpretation
I think the theme got across as it was a simple idea. What made it fun was seeing the sound reactive layers move as someone talked or someone played music.
Wednesday, October 31, 2018
Isamary Luna - Leonardo Wallwash
Leonardo Wallwash
Concept/Technique
For this project I decided to use the 3D medallion as the background. I used one of the video provided to us on box. I added a material on top of the video so it wouldn’t look too flat. I then added a radial circle to match up with the medallions center. The circle is also sound reactive. I decided to keep it simple with this one and just make something that would be pleasing to look at.
Interpretation
I think the theme got across as it was a simple idea. What made it fun was seeing the sound reactive layers move as someone talked or someone played music.
Concept/Technique
Interpretation
I think the theme got across as it was a simple idea. What made it fun was seeing the sound reactive layers move as someone talked or someone played music.
Monday, October 29, 2018
Leonardo Wallwash - Joseph Wintermote
Concept:
For the Leonardo Wallwash, I wanted to animate a recreation of a Leonardo Journal cover. I looked through the Leonardo History folder on Box.com for one that pulled my interest and found the one below. I really liked how it used saturation of one specific hue of green across the whole of the cover, as well as the distinct wear you can see on the paper. I decided to focus on the line-and-dot pattern that dominates the top-right of the cover. I wanted to place the dots on the background and make the lines come in from off-screen and flow into the dots. I planned to project this solely on the East wall to be used as a background animation for other's content.
Technique:
I started off making guiding circles, then added the lines, using the Sine Fill animation to get the effect I was looking for. Due to the inability for you to make branching chained lines in MadMapper, I would make a line all the way to the end of it's trail, then duplicate it and edit the line from the last circle it went through, repeating the process until I filled the screen. I did this with three independent branching areas, making them intermingle similar to how they do on the inspiration cover. I also made the separate branching areas fill at different times. I then published a recording of it to Siphon, and brought it back into MadMapper. I did this so that the animation could be more easily scaled and moved around the scene. I projected the .mov onto the East wall, added a transparent worn-paper texture over the video, blended the projectors together, and I was done!
Interpretation:
I am very happy with how this turned out! It was a very simple idea, and I feel I executed it effectively. I'm especially happy that I did well getting the correct color saturation effect. The only thing that bugs me is that I had an idea to make the circles expand as the lines passed through them, but I lacked the coding knowledge to make that happen.
Melanie Estes: Week 10 Leonardo Wall Wash
I wanted to use the skills I have learned in digital fabrication to make a physical object that could be projected on. Because the event was going to be a celebration of Leonardo's 50th Anniversary, I used their logo as the basis for my design. The logo is a 2D image, so I needed to re imagine it to become a 3D object.
I took the image of the logo into Rhino with a Picture Frame and traced curves along the triangular shapes to where they met in the center of the dots. I then turned on points for these curves and, grabbing all of the end points that converged in one place, moved them up along the Z axis. Each convergence of points was moved to a unique height. I also moved some of the points along the outer edges of the total shape. After turning the points off, I used the curves and the planar curves tool to create surfaces. I then used a tapered extrusion along the outside edge of the model to give it some more height. Because not all of the outlying edges ended at the same height, I trimmed the bottom edge off straight with a curve an the trim tool from the front view port. I used extrude straight to make another set of surfaces around the outer edge. Using curves of a 10 sided circle, I trimmed out the holes corresponding to the logo. The entire model was finally scaled so that the holes had a diameter of 8 inches. I then exported the model into Pepakura and cut it along the most of the triangular surfaces. I also edited the flaps with assembly in mind. I exported the cutting blueprints and took them to Adobe Illustrator to save as PNGs.
To make the actual sculpture, Pablo and I set up sheets of cardboard against the wall and projected the blueprints onto them. We traced and marked the edges, then laid the cardboard down and cut out all of the pieces and their flaps. We used Loctite super glue and hot glue to hold the pieces together. After all of the cardboard was together, we used tape along the seams. We hung it up with four canvas straps with slits along the top of the sculpture. After seeing it up, we decided it would be better to paint it. So we took it back down and used two coats of white house paint.
I took the image of the logo into Rhino with a Picture Frame and traced curves along the triangular shapes to where they met in the center of the dots. I then turned on points for these curves and, grabbing all of the end points that converged in one place, moved them up along the Z axis. Each convergence of points was moved to a unique height. I also moved some of the points along the outer edges of the total shape. After turning the points off, I used the curves and the planar curves tool to create surfaces. I then used a tapered extrusion along the outside edge of the model to give it some more height. Because not all of the outlying edges ended at the same height, I trimmed the bottom edge off straight with a curve an the trim tool from the front view port. I used extrude straight to make another set of surfaces around the outer edge. Using curves of a 10 sided circle, I trimmed out the holes corresponding to the logo. The entire model was finally scaled so that the holes had a diameter of 8 inches. I then exported the model into Pepakura and cut it along the most of the triangular surfaces. I also edited the flaps with assembly in mind. I exported the cutting blueprints and took them to Adobe Illustrator to save as PNGs.
I helped when we set up the room wash, and later worked with Abby to calibrate the .obj in MadMapper. I had taken the .obj into Maya and UV unwrapped it to use as an .obj import in MadMapper. We then used the wireframe to create the lines along the surface of the brain. Abby and I cleaned up the lines and made sure they sat properly on the object. I also created quads and masks to use on the vertical pillars and horizontal pipes along the ceiling, as well as on one of the projectors mounted to the ceiling.
I loved the composition Abby had that placed a neuron over the brain. It was set up so that the color pulsed with the sound and music in the room. But I also appreciated the compositions that included the elements from Leonardo, such as the covers and art found in the magazines. Given more time, I would have liked to have created something more in dedication to the founder, Frank Malina.
Ethan Christopher Leonardo Wallwash
Leonardo Wall Wash
Ethan Christopher
For the Wallwash event I wanted to create some composition to create a cohesive environment for the event. I pulled together several media pieces to create projections centered around the themes: arts, technology, innovation, history, reflection, and of course, Leonardo.
I used the following video elements in my composition:
-Leonardo Covers found in Box folder
-Photoshop to edit and construct my layers / art
-Final Cut Pro to add a Ken Burns effect and apply a filter to distort it slightly
MAIN MEDIA FILE:
I was pleased with the execution and loved seeing how my peers used my work and turned it into something new and exciting of their own.
I also included some other pieces throughout the room that were applied with different affects and masks:
Jennifer Newhard - Leonardo Wall Wash
I didn't have a set background in mind for my wall wash concept. I wanted to use bubbles in my design, almost like thought bubbles coming out of the brain relief that was made for the event. I wanted to have some of the journal covers in the bubble floating and rotating across the walls, but I had issues trying to get the movements down like I wanted.
I also wanted to have the number 50 made out of bubbles. This I wanted to have moving as well but decided against it in the end because I didn't want to deform the 50.
I finally decided to use the journal covers in the background. I didn't like either of the options for the moving journal cover videos that were available. I would have used one of them but there was a weird offset shading that I didn't think would add to the design that I wanted. I felt like it would be too much for the viewer all at once.
Ideally, if I could present this again, I would get the bubbles with the journal covers in them moving and I would experiment with making the bubbles possibly vibrate in the shape of the 50, or having the 50 as a whole move around on the walls.
I also wanted to have the number 50 made out of bubbles. This I wanted to have moving as well but decided against it in the end because I didn't want to deform the 50.
I finally decided to use the journal covers in the background. I didn't like either of the options for the moving journal cover videos that were available. I would have used one of them but there was a weird offset shading that I didn't think would add to the design that I wanted. I felt like it would be too much for the viewer all at once.
Ideally, if I could present this again, I would get the bubbles with the journal covers in them moving and I would experiment with making the bubbles possibly vibrate in the shape of the 50, or having the 50 as a whole move around on the walls.
Amir Naqi - Leonardo Project
For the Leonardo Wall Wash, I wanted to come up with something different. I was under the impression that the other students would be incorporating the journal covers into their design and I wanted to approach it differently. I found a transparent image of the publication's logo and I wanted that to be the focus of the design. When somebody walks in and sees the relief sticking out from the wall, right across from the door, I wanted them to be welcomed in. With this idea in mind, I began by vectorizing the Leonardo logo. The source material I found online was low-res and I wanted the design to come out in much higher quality. I took the logo and wanted to animate it so I went into Adobe After Effects.
Using Mercury Transmit, I was able to map out the two surface elements I wanted to project onto. The background of the relief, and the circular center. I went in and made a shape layer, drew up a bunch of points and worked to add new points and make micro adjustments until I was comfortable with the masks. From here I needed a background design and a foreground element to play well with the design. I started creating a solid, turning it into a 3d layer, rotating it, generating a grid, extending and repeating it to cover the whole background, then offsetting it to give it the illusion of movement. I keyframed some motion, added in some easing in the graph editor, and rendered out a 3 second clip. I wanted the design to be sound-reactive since I was also working on the music for the event. I took the mapped background into MadMapper and started the clip over with each beat hit. This gave my design a sort of pulsating effect to the beat. I made sure to render out a white pass of the background so I could add MIDI input controls to adjust the color of the grid. I also went in and added controls for speed. After my background was complete, I went back and forth into After Effects to work on the foreground effects.
I used some of the similar techniques in regards to sound-reactivity and motion. I wanted the design to play well with the music and to be inviting. I rendered out a few passes for general purpose elements, like a circle hit that is mapped to the relief. After I mapped out more MIDI controls for that elements, I worked to create a "dancing" Leonardo logo. I wanted this to be larger on the canvas as it portrays the central theme of the event. After lots of configuring, I found a comfortable balance between the nature of the design, interactivity of sound, and human control inputs through the MIDI devices. Overall, I was happy with the way it turned out.
Using Mercury Transmit, I was able to map out the two surface elements I wanted to project onto. The background of the relief, and the circular center. I went in and made a shape layer, drew up a bunch of points and worked to add new points and make micro adjustments until I was comfortable with the masks. From here I needed a background design and a foreground element to play well with the design. I started creating a solid, turning it into a 3d layer, rotating it, generating a grid, extending and repeating it to cover the whole background, then offsetting it to give it the illusion of movement. I keyframed some motion, added in some easing in the graph editor, and rendered out a 3 second clip. I wanted the design to be sound-reactive since I was also working on the music for the event. I took the mapped background into MadMapper and started the clip over with each beat hit. This gave my design a sort of pulsating effect to the beat. I made sure to render out a white pass of the background so I could add MIDI input controls to adjust the color of the grid. I also went in and added controls for speed. After my background was complete, I went back and forth into After Effects to work on the foreground effects.
I used some of the similar techniques in regards to sound-reactivity and motion. I wanted the design to play well with the music and to be inviting. I rendered out a few passes for general purpose elements, like a circle hit that is mapped to the relief. After I mapped out more MIDI controls for that elements, I worked to create a "dancing" Leonardo logo. I wanted this to be larger on the canvas as it portrays the central theme of the event. After lots of configuring, I found a comfortable balance between the nature of the design, interactivity of sound, and human control inputs through the MIDI devices. Overall, I was happy with the way it turned out.
Leslie McCracken - Leonardo 50th Project
Leonardo 50th Project
By Leslie McCracken
For the Leonardo Project I have decided to use a good majority of the journal articles that have been given to use for the project. I want to have the journal articles to go across the page. Each and every article that I have chosen was changed from its normal rectangle shape to a circle and then the size of every journal article was size down at varies sizes.
I chose to only do a part of the wall that was by the door. By doing that people that would walk in would be able to see it right when they walked in to the room.
I created the animation in After Effects. First I had to import many different Journal articles from a folder that was given to us for this project. After all the journals that I wasn't to use were placed in After Effect I then had to resize everyone of them in to different size. I did not want the journals to be all the same size. when I was done with size them all, I then used a mask over every journal article individually. This mask was of a circle that would only show what was in the circle and hide everything that was outside of the circle.
when I was do with the that first part I then had made is so that the Journals would start at the bottom of the screen where they were not shown at first. At different time and speed I made them move up to the top of screen where they could no longer be seen. The last thing that I did was copy and duplicate everything that I did and moved the duplicated versions down the timeline to give a more busy feeling to it.
The reason that I chose to do my project for Leonardo this way was because of all the great thing he has done over the span of 50 year. Having all the journal article altogether on one screen shows the viewer of what he has accomplished.
By Leslie McCracken
For the Leonardo Project I have decided to use a good majority of the journal articles that have been given to use for the project. I want to have the journal articles to go across the page. Each and every article that I have chosen was changed from its normal rectangle shape to a circle and then the size of every journal article was size down at varies sizes.
I chose to only do a part of the wall that was by the door. By doing that people that would walk in would be able to see it right when they walked in to the room.
I created the animation in After Effects. First I had to import many different Journal articles from a folder that was given to us for this project. After all the journals that I wasn't to use were placed in After Effect I then had to resize everyone of them in to different size. I did not want the journals to be all the same size. when I was done with size them all, I then used a mask over every journal article individually. This mask was of a circle that would only show what was in the circle and hide everything that was outside of the circle.
when I was do with the that first part I then had made is so that the Journals would start at the bottom of the screen where they were not shown at first. At different time and speed I made them move up to the top of screen where they could no longer be seen. The last thing that I did was copy and duplicate everything that I did and moved the duplicated versions down the timeline to give a more busy feeling to it.
The reason that I chose to do my project for Leonardo this way was because of all the great thing he has done over the span of 50 year. Having all the journal article altogether on one screen shows the viewer of what he has accomplished.
Paul Hinderliter: Leonardo Project
For my contribution to the celebration of the 50th anniversary of Leonardo, I decided to use the Medallion in the 3D Studio as a backdrop for a composition that illustrated both the artistic and technological aspects of Leonardo and blending them in a colorful and explosive animation.
Before even touching MadMapper, I began my process in After Effects.
Before even touching MadMapper, I began my process in After Effects.
I used the scan of the Medallion on the elearning site and used several effects to generate the effect below.
For the animation occurring in the front, I used the same effects, but used a different source image of the medallion to generate a different animation.
After making the two effects above, I added both of them to MadMapper. I made the two effects progressively change their hue color to add variety to the composition. To get the two effects to work together, I had to increase the contrast and change the blend modes to add, so both animations aren't completely covering up one another.
To incorporate Leonardo into the projection, I added a video of the magazine covers moving across the screen, provided in the class box folder. I gave it the subtract blend mode, and placed it on top of the two effects to make it only show up where the animation is, but still keeping the color of the effect as it was.
Rounding it all up, I used the SVG file of the medallion to add animated lines that was sound reactive, just like my last project, to give it a more interactive quality.
The final composition can be seen below.
Sunday, October 28, 2018
Anthony Marin: Leonardo 50th Project
For my Leonardo Wall Wash I wanted to represent all the accomplishments the journal has achieved and completely immerse the room in Leonardo history. I had two concepts and ended up using both transitioning back and forth. I began by taking my favorite covers and tiling them over and then using the Kaleidoscope effect in after effects. I then synced the size and other controls to the sound to allow for a more in depth experience. I then transitioned for a wall to wall magazine cover with a TV glitch type effect to match the cover of their latest journal. I also included 50th in celebration of Leonardo accompaniments.
Tuesday, October 23, 2018
Soul You: Wall Washing for Leonardo's 50th Anniversary
For this week's project, we learned how to edge blend two projectors together.
For my project for Leonardo, I designed a traveling door on After Effects.
In order to give the illusion of doors within a door, I used several compositions inside another composition in After Effects. This process was a bit confusing at first, but the final results were quite worth it.
I tried to capture the integration of art and science by showing a galaxy of mysterious clouds and gases when the door opens. One of my classmates commented that this door reminded him of Monsters Inc, because of the different worlds that open up each time. The next "world" the door reveals is the Vitruvian Man, drawn by Leonardo da Vinci in the 15th century. The perfectly proportional man spins alluringly, and the door closes on him. I borrowed this video of the spinning ideal man from Pablo and included it into the final project. The next time the door opens is a black space that symbolizes the grand world we live in; the mysterious and open space envelopes us and makes us feel small. We are mere mortals that are part of a bigger world.
Thursday, October 11, 2018
Abigail George: Projection 2 Tape Mapping
Melanie Estes and I partnered together to come up with our own tape mask. She drew inspiration from the croquet charts she uses and I from my henna designs. Both ideas were spiral-like in nature, one organic and the other very geometrical. We blended our ideas together to form a spiral crystal-like shape.
We each individually looked up concepts we liked and brought to class the next week. Once we settled on one, Melanie took the design into Rhino to recreate it. We distorted the shape to throw off the apparent symmetry and it became a turtle-like shape. We then passed it into Illustrator to export an SVG file for Mapmapper. After scaling it to take up the maximum space available, we started taping the design up with thin black tape. This was one of my favorite experiences. I worked with an exacto knife to make precise cuts. The next major portion of the process was mapping of the different sections of the mandala. Melanie masked the shapes and categorized them to make it easy to add materials to the sections and tune our designs to utilizing the entire space.
Although we had put a lot of time into making the Mandala tape mask, I spent more time working on the Frankenstein Mushu Design. The dragon tape mask instantly reminded me of Mulan's Mushu, I was moved to bring that movie back to life. I started creating mapping and morphing the SVG lines to match the taped lines on the cabinets. I used the red to resemble the strength of the red dragon Mushu wants to be. I added a storm to the background of the cabinets to add to the electric Frankenstein feel. I placed the gif of Mushu rising up above it the red dragon and I moved it so that the phrase "I LIVE!" could be read on the speaker. Melanie helped me find a way to load the gif to go reverse and flow which helped it come together better. Finally, I added a dark blue smokey and watery texture to the cabinet space on the left and overlaid a texture with sparks dispersing to make it look like they were coming off the flames from Mushu.
I hope to make the audience feel the rumble of a storm and remember Mushu for the strong character he proved to be in the end. My goal for the final presets was to have them musically reactive. The turtle mandala design had the speed of the oscillation set to increase and decrease depending on the bass input. For Mushu's preset, the fire coming out of the dragon's mouth changed colors according to the amplitude input, and for the video I tried to sync up the bass with the lightning.
Overall, seeing everyone's work active on the walls at once was a really enriching experience. People bring their own unique twist to their projects and the approaches surprised me. Partnering up really helped to identify the strengths of my peers and I hope to work with them on future projects.
We each individually looked up concepts we liked and brought to class the next week. Once we settled on one, Melanie took the design into Rhino to recreate it. We distorted the shape to throw off the apparent symmetry and it became a turtle-like shape. We then passed it into Illustrator to export an SVG file for Mapmapper. After scaling it to take up the maximum space available, we started taping the design up with thin black tape. This was one of my favorite experiences. I worked with an exacto knife to make precise cuts. The next major portion of the process was mapping of the different sections of the mandala. Melanie masked the shapes and categorized them to make it easy to add materials to the sections and tune our designs to utilizing the entire space.
Although we had put a lot of time into making the Mandala tape mask, I spent more time working on the Frankenstein Mushu Design. The dragon tape mask instantly reminded me of Mulan's Mushu, I was moved to bring that movie back to life. I started creating mapping and morphing the SVG lines to match the taped lines on the cabinets. I used the red to resemble the strength of the red dragon Mushu wants to be. I added a storm to the background of the cabinets to add to the electric Frankenstein feel. I placed the gif of Mushu rising up above it the red dragon and I moved it so that the phrase "I LIVE!" could be read on the speaker. Melanie helped me find a way to load the gif to go reverse and flow which helped it come together better. Finally, I added a dark blue smokey and watery texture to the cabinet space on the left and overlaid a texture with sparks dispersing to make it look like they were coming off the flames from Mushu.
I hope to make the audience feel the rumble of a storm and remember Mushu for the strong character he proved to be in the end. My goal for the final presets was to have them musically reactive. The turtle mandala design had the speed of the oscillation set to increase and decrease depending on the bass input. For Mushu's preset, the fire coming out of the dragon's mouth changed colors according to the amplitude input, and for the video I tried to sync up the bass with the lightning.
Overall, seeing everyone's work active on the walls at once was a really enriching experience. People bring their own unique twist to their projects and the approaches surprised me. Partnering up really helped to identify the strengths of my peers and I hope to work with them on future projects.
Friday, October 5, 2018
Isamary Luna Tape Mapping
Concept
What I originally wanted to do was a rose, but because of time and amount of space I decided to use the TV set up as I could try to use my original idea within that set up. In the end though I scrapped the idea because as I started working on it it felt out of place with what I had created. For the new piece I was inspired by a song called Soulmate by ZICO & IU. I wanted to show how romance is portrayed in popular media.
Process
I started off with putting the video in the background. The video is what's bringing the music in. Again, the song playing in the background is called Soulmate. Since I didn't want the video in the background taking all of the attention I added the wavelength material on a new layer and lowered the opacity. I also made it react to sound, that way it will move to the song. On the TV, I added the same wavelength material and made it react to sound as well. On the actual screen I added a video of scenes from popular movies and shows to show the idea of romance. I also added lines in the form the TV shape and added animation and shake. The last thing I added was the radial effect, which also reacts to sound.
Final Product
Overall, I think once you look at it you get the idea of what I was trying to portray as it's very literal. This project gave me more of an idea of what projection mapping is like, which is good, and it was fun to work on.
What I originally wanted to do was a rose, but because of time and amount of space I decided to use the TV set up as I could try to use my original idea within that set up. In the end though I scrapped the idea because as I started working on it it felt out of place with what I had created. For the new piece I was inspired by a song called Soulmate by ZICO & IU. I wanted to show how romance is portrayed in popular media.
Process
I started off with putting the video in the background. The video is what's bringing the music in. Again, the song playing in the background is called Soulmate. Since I didn't want the video in the background taking all of the attention I added the wavelength material on a new layer and lowered the opacity. I also made it react to sound, that way it will move to the song. On the TV, I added the same wavelength material and made it react to sound as well. On the actual screen I added a video of scenes from popular movies and shows to show the idea of romance. I also added lines in the form the TV shape and added animation and shake. The last thing I added was the radial effect, which also reacts to sound.
Final Product
Overall, I think once you look at it you get the idea of what I was trying to portray as it's very literal. This project gave me more of an idea of what projection mapping is like, which is good, and it was fun to work on.
Thursday, October 4, 2018
Jennifer Newhard Tape Mapping
Jennifer Newhard Tape Mapping
Concept:
My inspiration for my design is a drawing that I’ve had in my files for some time. It was based off of a description of an item in a book I was reading. It is a dagger, which I based on a Greek design, and the skull which is what I would consider a demon’s skull. I wanted to make a background of fire in the to start out, then pull the Skull and the dagger into the projection.
Process:
My process was to get the outlines of the dagger from the original drawing that I created in Illustrator, with the full detail of the original. I had some difficulty with the cues and getting the parts of my projection to start up when I wanted them to.
Final Product:
I had fun with this project. It was easy to get lost in working on the many parts I had for this project. Unfortunately, I was unable to get a recording of flames that I liked enough to use. Maybe that’s something that I can adjust or add to it at a later date. Also maybe add some animation for pieces of the skull splintering off.
Concept:
My inspiration for my design is a drawing that I’ve had in my files for some time. It was based off of a description of an item in a book I was reading. It is a dagger, which I based on a Greek design, and the skull which is what I would consider a demon’s skull. I wanted to make a background of fire in the to start out, then pull the Skull and the dagger into the projection.
Process:
My process was to get the outlines of the dagger from the original drawing that I created in Illustrator, with the full detail of the original. I had some difficulty with the cues and getting the parts of my projection to start up when I wanted them to.
Final Product:
I had fun with this project. It was easy to get lost in working on the many parts I had for this project. Unfortunately, I was unable to get a recording of flames that I liked enough to use. Maybe that’s something that I can adjust or add to it at a later date. Also maybe add some animation for pieces of the skull splintering off.
Monday, October 1, 2018
Joseph Wintermote_Project2_Tapemapping
Concept:
My concept for this project has been changing constantly since the beginning, with the only constant element being the lava lamp. I wanted to make a vector line drawing of a lava lamp I had on my desk at home, then tie effects on the lines into the audio. In the beginning, I had planned to project the composition onto the cabinets on the front of the room with an individual lava lamp on each cabinet door, but I decided to toss that idea since it would require a ton of overly-intricate taping and the projector tuned on the cabinets was too low a resolution, resulting in a lot of aliasing of the details (blurring the lines wasn't helping, the lines would disappear before they were effectively anti-aliased). I then saw the giant garage door next to the cabinets. Was told I couldn't tape the door, but I could still use it to display onto. In order to use the door but still use a technique similar to taping, I decided to base the piece on the lines that are formed by the grating on the door.
Process:
My process started with creating the vector image. I modeled a low-poly lava lamp in Maya, rendered it out as an .SVG file. and threw it into MadMapper. For the audio effects, I added an audio input control to the line red, green, and blue. It was very apparent that I needed to use the lavalamp-like Simplex_Gradient material in my composition, so I elected to use it for the background. I ended up making two planes of the same material in separate colors, and masked the layer on top so that every other grating on the garage door had the first background, with the second one showing through on the rest. For the actual lava lamp, I started by giving it the same material as the background, but decided that the sameness was boring, so I changed the material for the base and cap to Blobby to make some sort of variety of effect. I then had the problem of deciding what to put in the lava lamp, as well as what should be the audio input for the line effects. I decided to use the music video for "Aquarius" by The Fifth Dimension, which I felt paired well with the composition in general. To add a bit more to the look of the video, I added a Vertex Noise effect to the video as well as a low opacity overlay with the Simplex_Gradient material, hoping to give it a more liquid look.
Interpretation:
As for the intent behind this piece, I mostly sought to explore what creativity I could accomplish with MadMapper's material effects. The purest example of that exploration can be seen in my use of Vertex Noise on the music video quad and in my combining and masking of the two background effects. Overall, I'm very happy with how this project turned out! I feel that this composition displays a much greater harmony of color and theme than my first project.
My concept for this project has been changing constantly since the beginning, with the only constant element being the lava lamp. I wanted to make a vector line drawing of a lava lamp I had on my desk at home, then tie effects on the lines into the audio. In the beginning, I had planned to project the composition onto the cabinets on the front of the room with an individual lava lamp on each cabinet door, but I decided to toss that idea since it would require a ton of overly-intricate taping and the projector tuned on the cabinets was too low a resolution, resulting in a lot of aliasing of the details (blurring the lines wasn't helping, the lines would disappear before they were effectively anti-aliased). I then saw the giant garage door next to the cabinets. Was told I couldn't tape the door, but I could still use it to display onto. In order to use the door but still use a technique similar to taping, I decided to base the piece on the lines that are formed by the grating on the door.
Process:
My process started with creating the vector image. I modeled a low-poly lava lamp in Maya, rendered it out as an .SVG file. and threw it into MadMapper. For the audio effects, I added an audio input control to the line red, green, and blue. It was very apparent that I needed to use the lavalamp-like Simplex_Gradient material in my composition, so I elected to use it for the background. I ended up making two planes of the same material in separate colors, and masked the layer on top so that every other grating on the garage door had the first background, with the second one showing through on the rest. For the actual lava lamp, I started by giving it the same material as the background, but decided that the sameness was boring, so I changed the material for the base and cap to Blobby to make some sort of variety of effect. I then had the problem of deciding what to put in the lava lamp, as well as what should be the audio input for the line effects. I decided to use the music video for "Aquarius" by The Fifth Dimension, which I felt paired well with the composition in general. To add a bit more to the look of the video, I added a Vertex Noise effect to the video as well as a low opacity overlay with the Simplex_Gradient material, hoping to give it a more liquid look.
Interpretation:
As for the intent behind this piece, I mostly sought to explore what creativity I could accomplish with MadMapper's material effects. The purest example of that exploration can be seen in my use of Vertex Noise on the music video quad and in my combining and masking of the two background effects. Overall, I'm very happy with how this project turned out! I feel that this composition displays a much greater harmony of color and theme than my first project.
Melanie Estes: Week 7 Tape Mapping
I worked with Abby George to create the taping design we placed on the wall next to the kiln. When we were first discussing ideas, we thought about using crochet charts or henna designs. These both have a repetitive nature and feature a lot of curves and swirling forms. Deciding to go with something more geometric, we started looking for inspiration in mandalas. We chose the geometric mandala design in the center. To add more interest, we decided to add some outlying features around the outside of the circle.
I drew the design in Rhino using curves and Array Polar, exported to Adobe Illustrator, and then used Illustrator to export as SVG. Taking the lines into MadMapper, I then used individual quads on each section to separate the spaces in between the lines, allowing them all to be on or off to allow for interesting playing with the space. Each quad is a copy of the last, just with a new mask. This way they all can be on and line up to act like one individual quad. I also went back into Rhino and drew new curves that follow along with the form of the shapes. I converted these to SVG as well.
When it came to MadMapper, I knew I wanted to have a composition that relied on music for input. I gave the backdrop a royalty free video of dust floating in front of a projector, and connected the speed of the video to audio. I did the same for the multicolored visuals on the outlying sections, using a video of a disco light. The lines are textured with Line Anim, with the noise speed and opacity connected to audio. I also have a copy of the lines at a small thickness that is always on to have some sort of outline at all times. There is another copy of the quads of the mandala that has a Gradient Color texture in circular mode. I wanted the colors to be mostly neutral to go along with any music played. Therefore any in-software material used is in grayscale.
I originally thought I would use some sort of turtle, because the entire design looks like a turtle from the right angle. However, having it totally reactive to whatever music the computer is playing allows it to interact with more senses than just visual. Abby and I worked well together. Collaborating on the design itself was a wonderful experience. Where I drew the SVG lines and separated the quads, she worked to pace the tape on the wall. We were able to share ideas and learn from each other, allowing me to create this composition.
I drew the design in Rhino using curves and Array Polar, exported to Adobe Illustrator, and then used Illustrator to export as SVG. Taking the lines into MadMapper, I then used individual quads on each section to separate the spaces in between the lines, allowing them all to be on or off to allow for interesting playing with the space. Each quad is a copy of the last, just with a new mask. This way they all can be on and line up to act like one individual quad. I also went back into Rhino and drew new curves that follow along with the form of the shapes. I converted these to SVG as well.
When it came to MadMapper, I knew I wanted to have a composition that relied on music for input. I gave the backdrop a royalty free video of dust floating in front of a projector, and connected the speed of the video to audio. I did the same for the multicolored visuals on the outlying sections, using a video of a disco light. The lines are textured with Line Anim, with the noise speed and opacity connected to audio. I also have a copy of the lines at a small thickness that is always on to have some sort of outline at all times. There is another copy of the quads of the mandala that has a Gradient Color texture in circular mode. I wanted the colors to be mostly neutral to go along with any music played. Therefore any in-software material used is in grayscale.
I originally thought I would use some sort of turtle, because the entire design looks like a turtle from the right angle. However, having it totally reactive to whatever music the computer is playing allows it to interact with more senses than just visual. Abby and I worked well together. Collaborating on the design itself was a wonderful experience. Where I drew the SVG lines and separated the quads, she worked to pace the tape on the wall. We were able to share ideas and learn from each other, allowing me to create this composition.
Demetri Suttle Week 6: Tape Mapping
- Concept
My concept was based on the song Blood on the Leaves by the being formerly known as Kanye West. Currently known as 'Ye', the song features an introduction with samples from Nina Simone's lines on the song “Strange Fruit,” which was based on the poem written by Abel Meeropol. With a focus on how African americans face many racial challenges including pressure into drugs, poverty, and crime.
- Process
I used the Trumpet tape map created by Paul Hinderliter. The trumpet was my selection because it best fit the theme i was going for with the song. The Blood drips from the trumpet as the music begins, highlighting the stark contrast between the beauty we may hear musically, and the reality of the situation and what goes on behind the scenes that we may not see. The blood only drips from the trumpet and we cannot see what or who it is coming from on the inside. I also had the valves of the trumpet lighting up in sync to maintain some sort of rhythm in the composition to tie it in to the music. I didn't want the leaves to distract the viewer from the trumpet which is why i made them move more slowly.
- Interpretation
The trumpet itself is simply the medium by which i decided to tie the piece together. The red leaves falling combine with the blood dripping to create a dark atmosphere that helps to push the message of the song.
Final Video:
https://youtu.be/M1tv_y3W1cQ
Paul Hinderliter: Tape Mapping
For my tape mapping project, I was inspired by Madmapper's capabilities to react to audio and music as a platform to develop my projection centered around an instrument and music in general. Because I used to play Trombone while my brother played trumpet, I've become fond of brass instruments and the energetic sound they can make. After brainstorming ideas, I decided to design a trumpet as my core template for my projection.
While designing the template, I didn't have a wall picked out yet. Because I decided on the back cabinets in the studio, I needed to stretch out the original design to take full advantage of the space I was using. The cabinets presented a design problem in itself: with the tape only being on the cabinet, that left me with a whole lot of space above and below the trumpet for me to fill. I only wanted this area to react to the sound and not be present when it's quiet. This is where my idea to use the audio spectrum on top and bottom of the comp came from, as a way to heighten major peaks in the music. I tried to incorporate a reaction to audio in as many elements as possible, including:
- 2 sets of animating trumpet outlines, increasing the stroke, while the outline on top shakes at audio peaks.
- Red, green, and blue waveforms to expand with increasing audio.
- A background in the middle to pixelate whenever audio increases.
- Top and bottom audio spectrums.
- Animating lines inside the trumpet, moving from the mouthpiece, through the pipe, and out the bell of the horn.
Besides the reaction to audio, a core element with this comp is color. From the static red, green, and blue waveforms, to the changing color of the trumpet, color is used to express the dynamic energy trumpets make with each note.
Jonathan Davila: Project 2 - Tape Mapping
Concept
This project was our first leap into projection an idea into the physical world. This is a 2D projection project consisting of projecting onto a pre-composed tape drawing on a wall. We have to turn the black and white drawing into a dynamic and kinetic piece of art using our knowledge of MadMapper and design skills.
Process
I started by hand-tracing the tapped composition onto MapMapper using line layers. Once complete i began to mask out faces of the design to create projection planes on the main features of skull and sword. I learned how to use the MIDI controls to cue in some effects upon command.
Interpretation
This project was very fun to make. I really enjoyed learning how to cue in effects, giving me more control over the composition.
https://youtu.be/aZVMN1SbGrE
This project was our first leap into projection an idea into the physical world. This is a 2D projection project consisting of projecting onto a pre-composed tape drawing on a wall. We have to turn the black and white drawing into a dynamic and kinetic piece of art using our knowledge of MadMapper and design skills.
Process
I started by hand-tracing the tapped composition onto MapMapper using line layers. Once complete i began to mask out faces of the design to create projection planes on the main features of skull and sword. I learned how to use the MIDI controls to cue in some effects upon command.
Interpretation
This project was very fun to make. I really enjoyed learning how to cue in effects, giving me more control over the composition.
https://youtu.be/aZVMN1SbGrE
Tape Mapping
Tape Mapping Project
Design
I originally hoped to do a design that incorporated that human figure, but I struggled to create something that looked as good as the vision in my head. I am not familiar with Illustrator so I was limited to using Photoshop and MadMapper. In MadMapper, I designed a picture with a mountain in the middle. Unfortunately, I was unable to get my design taped to the wall in time and thus had to resort to using a classmates design. Shout out to ____ for creating the awesome house that I used for my tape mapping project.
Process
I started by masking around the lines of the house so that I could project something on the background of the house. The masking was the easiest part. The hardest part was thinking of a concept and finding stock footage that would flow once they were all brought together in one design.
https://youtu.be/61JiDn12Pd4
Outcome
I decided that I wanted the house to be engulfed into a pretty setting, so I took to Vimeo and found a clip that worked perfectly. I wanted the house to be engulfed in nature and give a feeling of what happens being out of the house's control. Mother Nature is in charge and the house will have to adapt to the challenges.
Plants:
Directed and edited by Kelli Anderson and Daniel Dunnam: kellianderson.com, thesoundsinmyhead.com
Concept by Kelli Anderson and Daniel DunnamInspired by Marie Caudry’s original artwork for Plants: mariecaudry.free.fr
Sound design by Daniel Dunnam and Tinybop
Ethan Christopher Tape Mapping
Burning Down the House
Taping Mapping Project
Ethan Christopher
For this project, I started with a specific vision and I now find myself with an entirely different outcome. This isn't necessarily a negative thing! My original concept was a cross section of a house ("doll house style") that peers into the mundane lives of suburbanites as chaos ensues outside of the house-- they live on unaffected. (I will get back to this topic at the end of my writing.)
As we worked in MadMapper during class time last week, Prof Scott asked someone to queue up some music. The importance of music is stressed a lot in class conversations and I realized I did not have a sound element for my composition. I clicked around and ended up playing a song by one of my favorite bands, Talking Heads. "Burning Down the House" thumped and the audio-input controlled lines expanded along with it- my house was shaking. This planted a new concept in my mind and I got to work. My new composition pays homage to David Byrne's cultish funk rock group and creates dynamic visuals tied to a (psycho) killer track.
The house outline was designed very minimally with intentions of leaving lots of room for it to be played around with. In Illustrator I laid out the 16 lines, created the SVG, and imported it into MadMapper.
I used the following video elements in my composition:
-Burning Down the House Music Video
-Eye Stock footage from Pexels
-Clouds stock footage from pexels
-Various exterior house parts (siding, roof, windows)
-David Byrne dancing Gif from google images
-fire stock footage
-facebook video of Professor Scott's sculpture
All edited in Final Cut Pro X and imported into MadMapper.
I layered the SVG lines over the media quad and added an audio input thickness control
FINAL OUTCOME:
MEDIA FILE:
---
Side note: For a future project, I'd like to create an actual dollhouse and project rooms / life into it on a small scale by layering some sort of sheer or clear (plexiglass?) exterior and then create the outside environment too. I'm going to start experimenting with it.
Anthony Marin: Dragon Tape Mapping
Childhood Memories
This installation was created as a immersive nostalgic nod to TV shows and games of the 90s. My initial inspiration was asian styled dragons. From there I remembered the red dragon thunderzord from the Power Rangers. I created this composition and then was also reminded of Mortal Kombat, Tekken and Street Fighter. For my last composition I wanted a more commercial application and playing off the Chun Li theme used Nicki Minaj as a backdrop.
In order to create my dragon tapping, I first found and stock image the dragon type that I was wanting and then pulled it into Illustrator and recreated a low poly version with strokes. From there I was able to export my SVG lines and them place them into Madmapper in order to project to my silhouette into the canvas. I then used black tape to pin the shape of my dragon on the canvas.
In my first composition I began by using a solid dragon shape and changing the color red. I removed the outlines and then gave it a bit of movement giving it a flying feel. I also changed the texture of the dragon to add depth. I Masked of the background wall and inserted a Red Dragon Thunderzord transformation in the background. I laid over a few trippy visuals that gave it a more surreal hazy feel. Dragons need fire so I added a fire breathing layer.
In this composition I played with the same composition style and attempted to change the blend modes, layer order and speed to create variety.
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