The transposition from colour to volume by means of digital fabrication: Op Art case study Juliana Harrison HENNO,1 Monica TAVARES,1 Henrique STABILE,3 1 School of Communication and Arts, University of São Paulo 2 Architecture and Urbanism College, University of São Paulo
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his case study is about the transposition of digital images by means of automated production, using the immaterial quality of colour from a light source as a parameter for recoding. In order to understand how the contemporary processes of digital fabrication can enable the conversion into a physical and threedimensional image, some artworks by Vasarely were chosen, as their colour is a determining factor for obtaining volumetry. In Vasarely’s artworks, the form-and-colour combination results from abstract compositions of serial and dynamic patterns, and it causes a multidimensional illusion in the human visual perception. The
Cheyt Pyr (1970-71)
Vonal Alto (1969)
Enigma 5 (1974) REFERENCES Plaza, J., and M. Tavares. 1998. Processos Criativos com os Meios Eletrônicos: Poéticas Digitais. São Paulo: Editora Hucitec. Plaza, J. 1987. Tradução Intersemiótica. São Paulo: Persperctiva. Pupo, R. 2009. Inserção da Prototipagem e Fabricação Digitais no processo de projeto: um novo desafio para o ensino da arquitetura, Campinas: FEC. Doctoral thesis available online, http://cutter.unicamp.br/ document/?code=000442574. Tavares, M. B. S. 2000. A recepção no contexto das poéticas interativas. São Paulo: ECA/USP. Printed version available at the ECA-USP library. Vasarely, V. 1973. Victor Vasarely: Planetary Folklore. München: Bruckmann.
investigative approach will take into account how the concepts of colour definition can be converted into three-dimensional form. It will also identify the steps of the creative process and the heuristic methods adopted, which are seen as the creative routes for planning and accomplishing the discussed artworks. Moreover, the analysis will highlight how the dialectic between the immaterial versus the material is developed. Both of them determine new ways of creation. Thus, we start from the assumption that the artist who can use CAD / CAM technologies can also access tools that allow him to overcome limitations in his artistic and poetic propositions.