I've compiled a list of ideas for transitions to get my mind going:
rebuild
disintegrate
integrate
morph
rotate
warp
break apart
blow away
wash away
fly away
melt
fog
light changes
growing
wilting
drying
raining
floating
lava
lightning
fire
shrink
expand
crackle
particles
scale
flicker
bend/squash
twirl
fur/grass/leaves
seeds blowing
wind
blooming
seeds falling
seeds growing
animated/morphing texture
insects
peeling
I feel like I should watch Planet Earth again. . .
Sunday, February 27, 2011
new inspiration
I just found this today on motionographer. Thanks Viv for reminding me to check it more often.
Really cool, organic structures at the macro level. http://vimeo.com/19764519
And another one: http://motionographer.com/2011/02/08/mato-atom-for-wwf-we-are-all-connected/
The simplicity of this piece speaks volumes.
Really cool metal flowers: http://vimeo.com/16186874
And something else along the same lines: http://www.vimeo.com/16590264
Really cool, organic structures at the macro level. http://vimeo.com/19764519
And another one: http://motionographer.com/2011/02/08/mato-atom-for-wwf-we-are-all-connected/
The simplicity of this piece speaks volumes.
Really cool metal flowers: http://vimeo.com/16186874
And something else along the same lines: http://www.vimeo.com/16590264
Sunday, February 20, 2011
Current animations
This is my current visual development of the film portion of my thesis. This only encompasses the first section of the textures I am transitioning between. It still needs a lot of animation and visual development tweaks. Esp in light of consistency and fixing some comping errors. Any feedback is welcome and appreciated.
Inspirations
The following are few of my favorite short films; centered around nature as a subject matter. I'm very inspired by these. Enjoy them!
Lilium Urbanus
http://www.thejoji.com/liliumurbanus/
Nature By Numbers
http://www.youtube.com/watch?v=kkGeOWYOFoA
Volgens de Vogels
http://www.youtube.com/watch?v=yCzq_8MCk2M
Das Rad
http://www.youtube.com/watch?v=DT13GuPZHMA
The Third & the Seventh
http://www.youtube.com/watch?v=PSGx4bBU9Qc
Sixes Last
http://www.youtube.com/watch?v=8VkMHsN8SoI
The Fall
http://www.youtube.com/watch?v=His5LyZE6vY
Lilium Urbanus
http://www.thejoji.com/liliumurbanus/
Nature By Numbers
http://www.youtube.com/watch?v=kkGeOWYOFoA
Volgens de Vogels
http://www.youtube.com/watch?v=yCzq_8MCk2M
Das Rad
http://www.youtube.com/watch?v=DT13GuPZHMA
The Third & the Seventh
http://www.youtube.com/watch?v=PSGx4bBU9Qc
Sixes Last
http://www.youtube.com/watch?v=8VkMHsN8SoI
The Fall
http://www.youtube.com/watch?v=His5LyZE6vY
List of Textures for the short film
Initially, I came up with several lists of textures that I could find that were similar to each other and would be easily recognizable. The following are organized into sections by similarity or possible capability to form into similar patterns especially with regards to
(cracked, segmented)
1. leaf veins
2. cracked mud
3. tree bark/ burnt tree bark
4. stone wall
5. vine that creeps up the wall and naturally takes the same shapes
6. lava flow from a distance (always iffy about this one, so far I've left it out)
7. same for the structure of rivers from a distance, or water flow.
(layered)
8. layered stone/earth
9. shelf fungus (has very distinct layers in it)
10. rings from the cross section of a tree
11. fern curls, vine spirals
(central formation structures)
12. Lily pads
13. flowers
14. dandelion seed pod
15. aerial view of a city (esp at night)
16. tree branches (can also take on the shape of cracked, segmented textures above)
17. tree roots
18. the larger vein structure of a leaf.
I have many lists of other materials in nature, but I didn't quite find a place to fit them in. I also want to make it clear that I am not focusing on the mathematical equations, like the fibonacci sequence, that ultimately drive the patterns and structure in nature (though it did cross my mind) especiall after seeing this film: http://www.youtube.com/watch?v=kkGeOWYOFoA. (though I did like the song used and will prob end up using it) I am more interested in the design and creating something beautiful and interesting to watch.
(cracked, segmented)
1. leaf veins
2. cracked mud
3. tree bark/ burnt tree bark
4. stone wall
5. vine that creeps up the wall and naturally takes the same shapes
6. lava flow from a distance (always iffy about this one, so far I've left it out)
7. same for the structure of rivers from a distance, or water flow.
(layered)
8. layered stone/earth
9. shelf fungus (has very distinct layers in it)
10. rings from the cross section of a tree
11. fern curls, vine spirals
(central formation structures)
12. Lily pads
13. flowers
14. dandelion seed pod
15. aerial view of a city (esp at night)
16. tree branches (can also take on the shape of cracked, segmented textures above)
17. tree roots
18. the larger vein structure of a leaf.
I have many lists of other materials in nature, but I didn't quite find a place to fit them in. I also want to make it clear that I am not focusing on the mathematical equations, like the fibonacci sequence, that ultimately drive the patterns and structure in nature (though it did cross my mind) especiall after seeing this film: http://www.youtube.com/watch?v=kkGeOWYOFoA. (though I did like the song used and will prob end up using it) I am more interested in the design and creating something beautiful and interesting to watch.
Summary
An investigation of nature inspired work.
Summary:
For the research component of my thesis I have investigated land and environmental art, also known as earthworks. Artists from this movement include Robert Smithson, best known for his Spiral Jetty located in the Great Salt Lake, Utah; and Richard Long who created his work through the act of walking and rearranging stones into recognizable shapes. Michael Heizer, best known for “Double Negative”, created a large scale land sculpture in the Nevada desert, where two large trenches were dug using explosives and a bulldozer. The scale is so massive it can be seen from space.
More contemporary land artists such as Andy Goldsworthy, create their work within the landscape using only materials found within the vicinity to construct well designed, and in most cases, ephemeral sculptures. His only means of documentation is to use a camera before the work is reclaimed by nature. Goldsworthy uses all types of materials, from snow and ice, to pure earth, rocks, leaves, twigs, and water to name a few. The challenge is learning the properties of each material and what its capabilities. Another contemporary artist, Patrick Dougherty, is also presented with the challenge of learning the properties of his medium, however his primary materials are saplings and twigs that he finds within thick underbrush to create large scale structures. They too are integrated into the landscape and are ephemeral usually lasting a year or two before they naturally fall apart.
The key element these artists have in common is their desire to play with nature and let the natural elements create the work. The artist has simply become an enabler of the materials, allowing the work to become what it can only naturally be.
In order to complete the requirements for my visual component of my thesis, I am presented with a challenge of irony that cannot be overlooked: I am going to create an interpretation of these artists’ processes in the form of a computer generated animated film.
Through the development process I have gone through several ideas and thrown them out only to come full circle and find I liked the original idea better. At this point I am taking the work of these artists to a new level and examining the structure of patterns in nature and how they relate to each other. I have come up with a series of textures I am interested in, for example, the vein structure of a leaf. It is very similar to the pattern created as mud drys and cracks. Ironically this is also similar to the crevices created in a man-made wall built with irregularly shaped stones. And now I have come full circle and found a connection to my fascination with man’s tendency to mimic the patterns of nature in our structures. In doing so I have more or less bridged the gap in my thesis and found the legitimacy behind using computer generated imagery to convey my research and fascination with patterns in nature.
Furthermore, I have taken a rough list of patterns I’m interested in, picked some music and started animating. I have found that my outlined ideas for creating transitions from one pattern to the next have not necessarily been ideal; therefore I have been changing them on the fly. Through this process I have realized that this may end up being the best way to create the film, making it an experimental film. It has no definite end in mind, but as I continue the work, I know it will continue to evolve. In this process I am keeping true to the tendency of my favorite earthworks artists who go into nature and play with the materials at hand to create the work. By implementing this process within computer generated graphics I am able to convey concepts not possible within a completely natural, and somewhat limited environment.
For the research component of my thesis I have investigated land and environmental art, also known as earthworks. Artists from this movement include Robert Smithson, best known for his Spiral Jetty located in the Great Salt Lake, Utah; and Richard Long who created his work through the act of walking and rearranging stones into recognizable shapes. Michael Heizer, best known for “Double Negative”, created a large scale land sculpture in the Nevada desert, where two large trenches were dug using explosives and a bulldozer. The scale is so massive it can be seen from space.
More contemporary land artists such as Andy Goldsworthy, create their work within the landscape using only materials found within the vicinity to construct well designed, and in most cases, ephemeral sculptures. His only means of documentation is to use a camera before the work is reclaimed by nature. Goldsworthy uses all types of materials, from snow and ice, to pure earth, rocks, leaves, twigs, and water to name a few. The challenge is learning the properties of each material and what its capabilities. Another contemporary artist, Patrick Dougherty, is also presented with the challenge of learning the properties of his medium, however his primary materials are saplings and twigs that he finds within thick underbrush to create large scale structures. They too are integrated into the landscape and are ephemeral usually lasting a year or two before they naturally fall apart.
The key element these artists have in common is their desire to play with nature and let the natural elements create the work. The artist has simply become an enabler of the materials, allowing the work to become what it can only naturally be.
In order to complete the requirements for my visual component of my thesis, I am presented with a challenge of irony that cannot be overlooked: I am going to create an interpretation of these artists’ processes in the form of a computer generated animated film.
Through the development process I have gone through several ideas and thrown them out only to come full circle and find I liked the original idea better. At this point I am taking the work of these artists to a new level and examining the structure of patterns in nature and how they relate to each other. I have come up with a series of textures I am interested in, for example, the vein structure of a leaf. It is very similar to the pattern created as mud drys and cracks. Ironically this is also similar to the crevices created in a man-made wall built with irregularly shaped stones. And now I have come full circle and found a connection to my fascination with man’s tendency to mimic the patterns of nature in our structures. In doing so I have more or less bridged the gap in my thesis and found the legitimacy behind using computer generated imagery to convey my research and fascination with patterns in nature.
Furthermore, I have taken a rough list of patterns I’m interested in, picked some music and started animating. I have found that my outlined ideas for creating transitions from one pattern to the next have not necessarily been ideal; therefore I have been changing them on the fly. Through this process I have realized that this may end up being the best way to create the film, making it an experimental film. It has no definite end in mind, but as I continue the work, I know it will continue to evolve. In this process I am keeping true to the tendency of my favorite earthworks artists who go into nature and play with the materials at hand to create the work. By implementing this process within computer generated graphics I am able to convey concepts not possible within a completely natural, and somewhat limited environment.
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