DA 1
DA 2
LONDON COLLEGE OF COMMUNICATION BA GRAPHIC PRODUCT INNOVATION DESIGNER ROLAND KOVES www.lcc.arts.ac.uk/ www.bagpi.co.uk/ © 2012 ROLAND KOVES ALL RIGHTS RESEVED. NO PART OF THIS BOOK MAY BE REPRODUCED IN ANY FORM BY ANY ELECTRONIC OR MECHANICAL MEANS, INCLUDING PHOTOCOPYING, RECORDING OR INFORMATION STORAGE AND RETRIEVAL WITHOUT PERMISSION IN WRITING FROM THE AUTHORS. TYPE FUTURA LIGHT, REGULAR AND FUTURA LT MEDIUM PRINTED & PRODUCED IN THE UK AT LONDON COLLEGE OF COMMUNICATION PRINTING & PUBLISHING
DA 3
The effects of the digital revolution are evident across all visual media. It has transformed activities such as painting, drawing, sculpture, architecture etc. Computer aided design has changed the manner in which designers work. It has not only changed the process of creating imagery from geometric shapes, but also the process of designing, exploring and experimenting with the shapes themselves in ways that would have previously been impossible. There are two main paradigms in computer generated imagery. The most common and widespread is 2D computer graphics which reflect and imitate how you might draw using a pencil and a piece of paper. In this case, however, the image is on the computer screen and the instrument you draw with might be a tablet stylus or a mouse. The second kind is 3D computer graphics, where the screen becomes a window into an immersive virtual environment and where structures, shapes can be manipulated into almost anything. There are already many well–known and established designers and architects such as Zaha Hadid and Robert Micheal Smith producing new possibilities (both artistic and design) created by significant technological advancements in three dimensional design software. My project aims to tap into digital sculpting, creating shapes and formations that are entirely drawn and sculpted in a virtual space. The process of creation of such shapes is very much industrial from CAD technology through rapid prototyping to final surface finish. This project also aims to satisfy my inherent desire to test and engage with the very latest manufacturing capabilities resulting in artistic impression; an abstract and organic sculpture of which has a dynamically and seamlessly twisting and turning surface.
PRIMARY RESEARCH/EVOLUTIONARY BACKGROUND/FIRST LIFE
DA 4
I began my research with David Attenborough’s First Life documentary on
3 billion years ago microscopic single cells were the most advanced form
the evidence of evolution and how we thought to have evolved from single
of life on the planet.
celled organisms in water to land walking mammals.
420 M B. C. The fossil of a sea scorpion. A monster of the seas and probably the largest arthropod ever existed. Grew up to 2 and a half meter long. Had an exoskeleton similar to living scorpions today.
DA DA 5 5
Dickinsonia sp. (Ediacara Hills, Australia)
The first “blueprint” (fossil) for bilateral simmetry in animals discovered in the Ediacra Hills, Australia. ‘Spagina’ represents the first ever animal which had clear head, tail and identical halves.
The ancestor of the first animal that made it to land called ‘Aicia’ found
Ammonites are an extinct group of marine invertebrate animals in the
Hallucigenia is an extinct genus of animal found as fossils in the Middle
in Canada from the Burgess Shales from 540 M years ago. This animal
subclass Ammonoidea of the class Cephalopoda. They thought to have
Cambrian-aged Burgess Shale.
is almost identical to the Velvet Worm living today. The Burgess Shale
been the ancestors of squids and octopuses living today.
Formation, located in the Canadian Rockies of British Columbia, is one of the world’s most celebrated fossil fields.
INSPIRATION
“...It illuminates her capacity for bridging different worlds: between traditional perspective drawing and slick computer-generated imagery, between the era of utopian manifestos and the ambiguous values of the information age” (A Diva for the Digital Age. Ourousoff, N. Nytimes, June 2, 2006).
DA 6
Robert Michael Smith’s abstract digital sculptures printed with rapid prototyping method. He has been a pioneer of digital sculpture, 3d visualization, CNC/rapid prototype manufacture etc. His digital sculptures have inspired me as well as encouraged me even further into exploring the area of 3D computer graphics and its possibilities.
A visual taxonomy of sea shells living today in which I have found great references to my initial ideas and inspiration to further progress.
DA 7
SKETCHES & ILLUSTRATIONS
Some rudimentary sketches and illustrations I drew during brainstorming using outlines and simple crosshatch effect to depict shadows and basic shapes. The drawings helped me realise the basics of each shape
DA 8
DA 9
STANDARD PRIMITIVES & BASIC GEOMETRIES Box
Sphere
DA 10 Cylinder
Torus
An edge is a line segment joining
A border can be best described
two adjacent vertices in a polygon.
as a closed sequence of edges forming a planar, but the planar itself (polygon) is without a face forming an empty void.
A polygon is bounded by edges,
In geometry, a vertex is a single
An element can be best described
best depicted in a square that has
point (vertices is plural meaning
as the entire surface of the
four edges.
multiple points) that circumscribes
geometric object.
the corners and intersections of a geometric shape.
Cone
DA 11 Geosphere
Predefined Standard Primitives are a series of 3D objects that one uses as framework from which one starts a model. These standard primitives can offer the possibility to apply more complex operations or surface modifications such as compound objects, including boolean (subtract, union, merge, intersect), morph, connect, cut etc. For my sculpture I intended to use the torus primitive as it has curves that can be bent and twisted.
Tube
Pyramid
Teapot
ORIGIN OF SHAPE
DA 12
The basic geomtric shape; the torus from which my
Torus has been cut and bent out from its dimensional
Torus edges have been extruded and weaved behind
model stems.
plane.
one of its first rings.
Spaces are identical between each weave to create
Continuity is slowly creating the framework of model.
The rings have been enlarged in diameter to merge
Further enlargement is proceeded as well as the
rings together creating a shell–like formation.
closure of end edges with the merger of the main
continuity...
Weaving and extruding process continues...
body.
DA 13
REFINED SHAPE & STRUCTURAL VARIATIONS
DA 14
In these images as it can be seen, further structural variations were explored and exploited to create new forms and shapes. I also began to experiment with surface finish for which at first I thought a car paint finish would not only be interesting, but would also cause some environmental reflections on the surface of the models enhancing the look. 01
02
03
DA 15
DA 16
DA 17
01
DA 18
02
DA 19
01 Surface Area: 292 618.27 Volume: 1 621 772.56 Dimensions x: 181mm y: 183mm z: 146mm
DA 20
02 Surface Area: 615 934.68 Volume: 2 242 252.49 Dimensions x: 205mm y: 193mm z: 145mm
DA 21
3D PROTOTYPE
Rapid prototyping can be defined as a group of techniques used to quickly fabricate a scale model of a physical part or assembly using threedimensional computer aided design (CAD) data. Construction of the part or assembly is usually mostly done using 3D printing technology. Today, they are used for a much wider range of applications and are even used to manufacture production-quality parts in relatively small numbers. Some sculptors use the technology to produce exhibitions.
DA 22
SURFACE FINISH/BRONZE
I decided to settle with a bronze surface finish as this is a typical industrial colour as well as being a historical period characterized by the use of copper and its alloy bronze. What is more, The Bronze Age in the archaeological chronology reflects the difficulty of manufacture in the history of technology which in turn contrasts with the manufacturing capabilities today.
DA 23
DA 24
EXPERIMENT 1
DA 25 Ghost effects caused by moving acetate layers on a light table.
My first experiment with electroluminescent paper that was placed behind two prints (one acetate one normal paper) facing opposite each other so the image printed on the normal paper could only be revealed when light hit it from behind. This triggered many ideas with transparency and other effects that could enhance and communicate my model in 2d as well as 3d.
DA 26
DA 27
EXPERIMENT 2/PHYSICAL DYNAMICS
Here is a series of abstract digital models fractured and exposed to physical dynamics such as an explosion. A sequential test, exploring notions of inception and origins of objects similar in feature, resulting in turbulent chaos as well as momentary beauty. The original shells of the models can only be superficially extrapolated by the hinting curves that the torus primitives are themselves made up of. During the process I was also interested in the limit to which the fractures could be streched and portrayed in a frozen moment whilst retaining the shapes’ recognizability.
DA 28
DA 29
EXPERIMENT 3/PHOTOGRAMS & DIGITAL EFFECTS Some photograms I created using my model and other imagery to explore the effects of this technology. The overlapping of each images and the effect they created seemed effortless and offered further developments.
DA 30
DA 31
IDEA FOR 3D PRINT
DA 32
Screenprinted artwork
Thick transparent perspex
With this composition and technique I’m hoping to get an interesting layering that will reveal further 3d effects. I’m also planning to experiment with transforming a 3d model into 2d image and back to 3d again.
Screenprinted artwork onto acetate
DESIRED OUTCOME
DA 33
SCREENPRINTING FOR 3D EFFECT
DA 34
COLOUR VARIATIONS
DA 35
SCREENPRINTS
DA 36
SCREENPRINTS
As it can be seen from the photos and examples, screenprinting has such a unique graphic style and enhancing effect to the imagery that it cannot be reproduced otherwise. Screenprinting also has connotations with old school graphic design and is more versatile than traditional printing techniques offering unique layering and application possibilities.
DA 37
MODEL IN PHOTO STUDIO
DA 38
MODEL IN PHOTO STUDIO
DA 39
DA 40