jesse gates 170710-170724

jesse gates 170710 170724

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EXERCISE I

Posture scanning

3d printed figure in hand

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3d printed figure in hand

Elevation of model in the rhino viewport

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Eva Diaz - The Experimenters: Chance and Design at Black Mountain College

Maps were evaluated based on their capacity to flatten, obscure, diffuse, and confuse the image of the digital model as it is printed on the page. The

process when developing and working with the texture map was ultimately one that dealt with and operated within that special quality of images: flatness.

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Texture map sample 170714_indiv_10

Texture map sample 101714_indiv_10 applied to mesh in the rhino viewport.

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Texture map sample 170714_indiv_10

Texture map sample 101714_indiv_10 applied to mesh in the rhino viewport.

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Texture map sample 170714_indiv_10

Texture map sample 101714_indiv_10 applied to mesh in the rhino viewport.

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1:2 3� = 1’ scale elevations were presented as printed drawings. The scaled drawing is reproduced here.

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A figure related elevation and section to create a specific understanding of the form of the digital model. By refining the texture mapped onto the figure across section and elevation, effects

were produced that assisted the viewer in reading the form of the digital model; and acted in conjunction with the viewer’s perception to confuse the reading of the digital model.

It is indeed from the close observation of the peaks and cols which make up the great massif that the highly pictorial form transformed, under Viollet-le-Duc’s wilful scrutiny, into a perfectly regulated crystalline system. In looking at these complex forms, we are taught to recognise a systematic, underlying order. But Viollet-le-Duc did not want to describe simply a static order. His Massif du Mont Blanc is primarily an attempt to reconstruct from the original upheaval, what, according to him, shaped the great massif over time. Once the primordial granitic mass crystallised under cooling, or metamorphosed under pressure, it underwent a rapid disintegration, the rhombohedral blocks splitting as water filtered through the interstices of lamination and expanded under frost, and as glaciers eroded the mass. But that very process of ruination is what best reveals the crystalline system.

And what can be seen on a grand scale is repeated indefinitely in each of the masses, secondary, tertiary, and so forth.

Martin Bressagni - Eugene Viollette Le Duc

PAL IND ROM E M AG AZIN E

drawingmatter.org

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EXERCISE 2 “In practice I have two colors, or three colors, or more recently 5 colors. As I proceed and adjust them, they bear less and less resemblance to what I thought of when I started out. Possibilities open up. One is working from what one knows, towards what one does not know. — So many variables are involved, colors look darker or lighter according to how they’re disposed; according to their area or intensity, they can throw up the optical after image of their complementaries - faint, suggested colors from the opposite side of the spectrum; and that will affect the tonal balance.

Within the total field of vision, attention has to be held between the degree to which colors mix and the degree to which they separate out with enhanced identities.

Above all, how color will work depends on the actual size one sees it. One cannot change the scale of color, without changing its effect.”

Bridget Riley - speaking about her painting practice

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File ref: 170807_Rileypage_03.pdf

Iphone setup to photograph paper studies

A tarp ikea bag was set up in the studio and 3d scanned.

Select moments in the geometry of the scanned bag were selected and replicated by crumpling, folding, and flattening copy paper.

The crumpled paper was photographed and placed again on the ikea bag to be 3d scanned.

The digital geometry of the scanned paper was used to produce a series of contour models composed using a drape operation.

An acrylic tool of one of the serial contour models was produced and used to form a styrene sheet.

The formed styrene sheet was photographed under a number of idiosyncratic light conditions. Photographs of the styrene sheet were mapped and a large print was produced.

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File ref: 170714_crumpleworkflow_01.pdf

Photographs of the crumpled paper were composed under varied light conditions.

A composite photograph was assembled from individual photographs as color channels.

The composite photograph was composed through tone, color, and balance to produce an image with a narrow tonal range.

The composite photograph was mapped and a large print produced.

The acrylic tool, styrene model, and both prints were displayed for review.

File ref: 170721_bagrender_01.pdf

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N/A

The ikea bag 3d scan was used as an initial form to generate crumpled paper studies. The crumpled studies were photographed and used to generate composite photographs. The ikea bag came

S/N 170718.29

Of the four scans, S/N 170718.29 was used through the photoshop and rhino workflows.

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back into use as a foil when 3d scanning the crumpled paper studies that were themselves originally derived from a 3d scan of the ikea bag in a crumpled position.

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File ref: 170718_29_img_4835

File ref: 170720_29_master01_Blue02.psd

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File ref: 170718_29_img_4861

File ref: 170720_29_master01_green.psd

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File ref: 170718_29_img_4868

File ref: 170720_29_master01_red.psd

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∆ INCREMENT Unicode: U+2206, UTF-8: E2 88 86

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∆ INCREMENT Unicode: U+2206, UTF-8: E2 88 86

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As color channels were adjusted, layered, and adjusted again, a series of iterations were produced that narrowed the tone values

∆ across the color channels to produce a composite image with a more precise, narrow tonal range.

∆ INCREMENT Unicode: U+2206, UTF-8: E2 88 86

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∆ INCREMENT Unicode: U+2206, UTF-8: E2 88 86

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C, M, Y, and K channels were bitmapped and overlayed. M and Y channels were banded while the C channel was mapped as rectangles along a grid. The interference of the two grids created

a high reslution image whose color relationships are precise when viewed by the eye. The investigation of these relationships has to be precise beause the eye is precise.

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2 channel composite contour

3 channel composite contour

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Like the RGB channels in the previous excercise, the contour block is composed of 3 interlaminated contour channels

3 channel composite contoured block

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Draped surface over contour tool rhino model simulates surface qualities to be expected in the physical fabrication

Draped form is lit from below and begins to form confused convex/concave identities.

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The tool formed styrene model is photographed here under LED lighting in the studio. Pictured is the concave face.

Mapped, printed, and mounted on the wall 24” x 32” This image became a physical artifact; determined by and viewed through the iphone’s color algorithm.

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made in Los Angeles j.gates Heavy Ind.

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