POLYHEDRAL ANIMATION
Christos Kyriacou / KYR11325896 / BA (Hons) DGC (Top-Up) Yr 03 /
Industrial and Theoretical Contexts
1
CONTENTS 1
2
3
TOPIC OUTLINE
MOTION COMPLEXITY
CHARACTER TEXTURES
3-7
8 - 12
13 - 15
4
5
6
ATMOSPHERIC AUDIO
PROJECT TYPE
YOUTH TALENT
16 - 19
20 - 21
22 - 24
7
CONCLUSIVE THOUGHTS 25 - 30
2
1
TOPIC OUTLINE
3
BRIEF INTRODUCTION As a professional gateway into the
In addition, marginal projects will be
Furthermore, unifying contemporary
three-dimensional sphere, this report
incorporated, where appropriate. For
case studies with literary theory
aims to investigate how and why
instance, Dirk Rauscher’s The Temple
provides substance to contemporary
current digital animators use the
will briefly touch upon the influence
modes of innovation and development.
polyhedral form as a visual focus in
of commercial audio within animation,
To exemplify, I will draw upon David
motion graphics.
when compared to that of the self-
Lodge’s The Art of Fiction, Gerard
initiated project.
Ganette’s Narrative Discourse: an
By fusing sophisticated software with
essay in method, and Karl Jencks/
primary forms, the animator translates
To understand purpose and process
Nathan Silver’s Adhocism: A case for
fantastical thoughts into structured
behind each case study, it was essential
Improvisation.
realities, crafting a particular style of
to interview the animators responsible,
animation, applicable to multiple design
as well as other experts within motion
When examining the project within the
contexts. By examining both primary
graphics field.
immediate setting, ‘Youth Talent’ will
and secondary sources, this report
explore the creation of young motion
centres the use of geometry within
From London-based technicians,
artist Aniruddh Mehta’s Happy Folk GIF
self-initiated projects and music video
to European, and far Eastern
creations, whilst ‘Conclusive Thoughts’
production.
freelancers, the report covers a diverse
will evaluate a series of user-centred
range of individuals with differing
experiments, encouraging young
The first chapter provides a brief
design influences and experiences.
designers at the London College of
historical contextualisation of both
Consequently, such global dialogue
Communication to create their own
polyhedral forms and animation,
generated a vibrant fusion of conflicting
storyboard, once provided with paper
whilst the main body parallels Frederic
viewpoints, informing a well-balanced
polyhedral models.
Andres’ Platonic with Matt Lawrence’s
discussion.
Triforms // 1.0. (contemporary case
Amongst conversational interviews,
studies), in relation to four common
To supplement primary evidence,
such experiments offer the refreshing
themes:
secondary quotations and examples will
alternative of audience perspective,
provide a laterally informed perspective
revealing how future generations may
on the subject, whilst referring to the
shape this evolving genre of animation.
•
Motion Complexity
•
Character Textures
•
Audio Atmosphere
•
Project Type.
wider context of design.
4
POLYHEDRAL ELEMENTS In elementary terms, Polyhedral
With regards to the semi-regular
Whilst Roman board games involved
describes a ‘solid with flat faces’ derived
polyhedral or, the ‘thirteen Archimedean
animating the glass-forged Icosahedral
from the ‘Greek poly – meaning “many”
solids, ‘they have faces more than one
Dice (Hart 1999), contemporary
and –edron meaning, “face”. More
type, and identical vertices.
animators use Cinema 4D to manifest
specifically, these constructions are
They all fit perfectly within a sphere
charming complexity through the
categorized by regular or semi-regular
with a tetrahedral, octahedral or
electronic window.
polyhedral.
icosahedral symmetry.’ (Sutton 2005
(Math is Fun, 2011)
p.32).
Ancient Greek philosopher Plato
As a measurable, yet exchangeable
shapes in complex sequences, and fresh
describes the five main elements in
formula for re-imagining biology, these
contexts.
Timaeus (350 BC) (Math World 2014).
five elements are found in all ancient
He begins with the tetrahedron as
cultures, indicating the presence of
the ‘element of Fire’, the Octahedron
a unified mathematical language.
representing ‘Air’, the Cube as ‘Earth’,
Intelligent civilizations applied
Icosahedron ‘of Water’ and the
geometric forms in accordance with
Dodecahedron as ‘Aether’ (below).
their technological advancement,
Collectively, these are known as the five
design rationale and materials, sparking
Platonic Solids (Lundy 2012 p.12).
new three-dimensional interactions just
This post-modern realization allows creative minds to re-imagine simple
as we do today. Arithmetically, they consist of ‘equal edges,…every face is the same perfect polygon and every point is the same distance from the centre.’ (Lundy 2012 p.12).
5 PLATONIC SOLIDS
TETRAHEDRON FIRE
OCTAHEDRON AIR
HEXAHEDRON EARTH
DODECAHEDRON AETHER
ICOSAHEDRON WATER
5
THE 20TH CENTURY ANIMATOR Rooted in mid-twentieth century
When considering the revolution
Today, the illustrator’s appeal to migrate
experiments, ‘digital adaptation’
in televised entertainment during
from dated imagery to animation is alive
appears to have rapidly emerged as the
the 1920s, Walt Disney expresses
and well. Whilst the on-screen medium
primary method for fashioning a virtual
the advantage of widely broadcast
elevates tools and online platforms, the
reality. Ultimately, this has beckoned a
animation when compared to the
still image recedes.
slow recess of the ‘hand-crafted object’
limitations of the static entity:
to a somewhat primitive or obsolete format.
From John Whitney’s pioneering
Animation offers a medium
synthesis of music with computer aided
of storytelling and visual
imagery (Cuba, L, Whitney, M 1996),
entertainment which
to Disney Pixar’s animated Toy Story feature, the proponents for innovative
can bring pleasure and
motion have evolved and expanded
information to people of
across many design-related disciplines.
all ages everywhere in the world.
(Disney 2014)
(Podhadjsky, 2014 , fig.1)
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21ST CENTURY SOFTWARE At the forefront of twenty-first century
Amongst a variety of competing
motion technology, three-dimensional
programmes, Autodesk offers 3ds
software is the collective term
Max and award-winning Maya, whilst
describing an array of sophisticated
Maxon suggest a ‘friendly’ alternative in
tools, which allow the designer to
Cinema4D (includes pre-made platonic
construct a psychological whirlwind of
solids i). Nevertheless, all of which are
imagination.
mathematically astute and creatively vast, typifying an explosive formula for
Through meticulous structural, animatic
new exploration into the Polyhedral
and rendering applications, one can
realm.
reveal a composite vision in cinematic fashion. Essentially, generating objects
In addition, integrating Adobe After
within a two-dimensional space creates
Effects adds an animated two-
a seamless universe whereby any
dimensional layer, filtered texture, and
visual is attainable and any approach,
‘branded spice’ to the raw mixture.
reasonable.
Ultimately, a union with platonic structures extends the shape to its full mutative potential, presenting a bizarre sequence of events that give rise to new categories of animation beyond the realms of traditional narration.
(The One and Only Creator, 2013, fig.2)
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2
MOTION COMPLEXITY
8
HYPNOTIC SEGMENTATION Both case studies display a method of fluid motion whereby the designer manipulates platonic facets, drawing the viewer into an ever-changing hypnotic rhythm of movement. This remains a poetic, yet constantly unexpected
I love working with simple shapes in Cinema 4D and making those shapes create more complex
When viewing Lawrence’s work, excitement and unpredictably is translated through the tormented object, at the centre of an increasingly playful universe.
experience when considering the shape
shapes through animation
The form expresses a variety of
in its basic form.
and intersection. You never
emotions through sharp schizophrenic
In Matt Lawrence’s Triforms // 1.0., the
really know what you’re
original form at numerous points. This
most familiar four-sided tetrahedron
going to get, which I find
is given fresh qualities through segmentation, multiplication and agile
exciting.
changes, yet always reverts back to its highlights a broader underlying need for simple constants, as convenient
(Lawrence, 2013 p.1)
‘canvases’ for future creativity.
movement. This portrays the many ways a timeless structure, (still relevant) can be re-invented as a ‘live shape’. When conversing with Lawrence on his interest in using the polyhedral this way, he briefly explains the desire to transform ‘the simple’ into unique patterns of motion:
(Lawrence, 2013, fig.3)
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PURIST IDEALS Correspondingly, Jencks & Silver
A theory of architecture which will
From Apple Macintosh’s use of the
(1973, p.82) briefly touch upon 1920s
be based primarily on platonic forms:
Golden Ratio in iPhone products (Martin
Purist philosophy whereby architect
cones spheres, cylinders, cubes, etc.
2011), to Jan Zabransky’s application of
Le Corbusier and painter Amedee
They argued that only these simple
Sacred Geometry in the Czech Medical
Ozenfant proposed the idea of basic
forms are universal, and that they
Herbs logo (Zabransky 2013), polygonal
forms as the constant language:
would set off identical sensations” in
frameworks remain aesthetically
“everyone on earth”
proportional methods for symbolism and three-dimensional structures.
Although partially false considering
A theory of architecture
the crudeness of ad-hoc culture,
which will be based
Purism nevertheless continues as
primarily on platonic forms:
the foundation not just for motion or architecture, but all design.
cones spheres, cylinders, cubes, etc. They argued that only these simple forms are universal, and that they would set off identical sensations” in “everyone on earth”
(Zabransky, 2013, fig.4)
(Gennings, 2011, fig.5)
10
THE BIRTH OF NEW FORMS Equally, Platonic conveys an almost identical ‘trial and error’ approach whereby Frederic Andres expresses the act of ‘instantly jumping right in and going crazy’. In contrast however, he fashions a new shape, yet nonetheless,
3D software is the best tool for this sort of thing. It gives you endless possibilities! I think it is one of the most powerful
regularly polyhedral (closely resembling
weapons for storytelling and
the truncated octahedron).
creation of things that exist but
This showcases the immense capability
also things that don’t.
of Cinema 4D to construct proportional
2013 p.1)
(Andres,
facets for custom shapes. In this case, Andres utilizes such tools to execute a more unique style to that of Lawrence,
Furthermore, Andres’ approach takes
Conclusively, such versatile tools breed
as new base shape is established.
mutation a step further by combining
new forms of experimentation whereby
fixed angles with jagged elements
the traditional method is reversed. In
Through out the sequence, Andres
beyond the object’s man-made
contrast to imposing a foreseeable
employs an angular distortion, followed
boundaries. Such juxtaposition marks
vision on a series of selected crafts, one
by a melting and decaying which
a paradoxical clash of mathematical
‘dives’ into a seamless platform, bound
reveals a series of conjoined molecular
perfection with the imperfect.
for technical discovery.
atoms. As opposed to frequently returning to primary form, it returns
The animator’s plan, however precise, is
once, toward the end.
redirected many times before reaching the end result. Even with experience,
In this instance, the animator rewrites a
every project dictates a unique
biological impossibility by removing an
approach and therefore, provokes an
exterior man-made shell to reveal the
unexpected result.
juxtaposed organic core. When asking Frederic how 3D software has allowed him to actualize his vision, he emphasized making the nonexistent, a reality:
(Andres, 2011, fig.6)
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CONVERGING EXPERIMENTS The animator’s quest for
When paralleling this approach within
Though far from 1920s ideals,
experimentation within software can
twentieth-century modernism, Lodge
Matt clearly displays the positive
initially have no direction but remain a
(1992, p.175) describes the inception of
convergence of testing, to produce
learning process for practice. It is during
the Surrealist Movement through Andre
a organic flow of composite motion.
such playfulness, that one discovers a
Breton’s free-roaming attitude:
Surrealist ideals therefore encourage
common theme for which to tie a series of polyhedral tests together. When asking Lawrence about the intended message behind the Triforms // 1.0., his response typified the
practitioners to play with what
…founded on “a belief in
‘feels right’ in order to innovate and appreciate.
the supreme quality of certain forms of association
‘unintentional’ method behind the final
heretofore neglected: in
outcome:
the omnipotence of dream, in the disinterested play of
There wasn’t really a
thought.”
message. It was just a series of experiments that I had done in the past and rather than sit on a hard drive unused, I connected them together within a short experimental piece. (Lawrence, 2013 p.1)
(Lawrence, 2013, fig.7)
(Lawrence, 2013, fig.8)
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3
CHARACTER TEXTURES
13
MANY SENSES It so easy to bring life to
‘there are so many different
geometry not that the
types of character and so
skies the limit...easier to
many ways of representing
apply worldly dynamics
them: major characters
background to produce a realistic
to the geometry which
and minor characters,
interface to the viewer. With regards to
obviously helps bring
flat characters and round
character to the geometry.
characters, characters
...can give the shape
rendered from inside their
provides a combination of juxtaposed
personality that can be
minds.’
textures to the central character,
used to great effect.
When assigning tactile, material traits, the animator provokes an imaginary sense of touch from spectators, without physically requiring it. Such success occurs as a result of assigning worldly properties to both object and
both case studies, textured actualisation are presented in contrasting ways. Within Triforms // 1.0., Lawrence
accompanied by a wave of film-like qualities to the shallow background.
(Lawrence, 2013 p.1)
In this case ‘so many’ characters are represented within one shape, urging
The object begins with a clean matt texture before vibrating into a rippling viscous liquid and smashing with a ceramic-like quality. In addition, the dramatic use of fixed lighting against
Furthermore, Triforms // 1.0. challenges
the viewer to reconsider the laws of
theories surrounding traditional
physics within an augmented reality.
depictions of literary characters by
With this, the imagination becomes
combining a variation of textures to
elevated, disregarding current physical
create a fluid-like personality.
boundaries in order to jump into a
the triangle gives an immediate sense of presence and singular focus however, both the icosahedron and octahedron are delicately used as wire-framed sub-
world where such shapes live and Traditionally, Lodge (1992 p.67) explores
breathe, as animals do.
the multiple methods in which the narrator chooses to portray the figure:
characters, which encase the pyramid at various points. Whilst asking Matt Lawrence how software has given materialistic qualities to simple shapes, he briefly replied:
(Lawrence, 2013, fig.9)
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NARRATIVE STRUCTURE In defining the novel, Andres utilizes texture in unison with a narrative framework to dictate a constant change in material behaviour. In contrast to Lawrence, the threedimensional background is equally significant to the progression, as the morphing entity and dynamic camera influences it dark evolution.
…a crystallized shape, which is aesthetically perfect, becoming organically stripped and decayed. At first it appears as though the shape is bragging about its ‘powers’ however as soon it begins to decay, you realize that it is not in control.
This provides a clearer setting to the plot when compared to the evidently subjectve nature of Triforms // 1.0. Before Andres provided a description of the personal significance of Platonic, he asks for a viewer-perspective, in order to measure the difference between reception and narrative intention:
The polyhedral solids symbolize an ancient interpretation of living organisms, and you reversed that within your animation. In a sense, you brought the shape back to raw nature. (Kyriacou, 2013 p.1)
When I started this thing, I was in a pretty bad mood! I just came back home from a 5-month trip around New Zealand and Southeast Asia. Going back to work and re-fitting into society was not easy! The polyhedral symbolizes a good structure of our condition or confidence. Then you see the drop falling on to it. That is the bad influence…that makes the form instable and afterwards completely breaks it…at the end, the light source is something that brings you back to normal. (Andres, 2013 p.1)
As expected, due to the abstract nature
In effect, the story is a direct projection
of polyhedral animation, Andres’ intent
of the animator’s raw emotion and
appeared to differ greatly from mine.
experience. Therefore, it is only natural
When revealing his story, he elaborates
that the symbolic mood vibrates with
on the original vision:
the receiver, however conflicting the viewpoint.
(Andres, 2011, fig.10)
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4
ATMOSPHERIC AUDIO
16
CINEMATIC EXPERIENCE The use of audio is equally essential to
Known for his theatrical celebrations
a successful cinematic experience. The
when scoring for Manchester United,
grandeur and presence of any shape
former footballer Eric Cantona
can be felt most when geometry flows
expresses the power of immersing
in accordance with atmospheric sound
yourself within imaginative stories
or music.
stating: ‘I like to stay at home and make
To enter into the imagined world of a novel we have to orient ourselves within space and time with
a cinema in my head.’ (Brainy Quote
the characters, and the
2014)
future tense makes that
Andres utilizes a collection of sound
The ultimate literal interpretation of
impossible.’
effects to personify the shape’s
this notion strikingly resembles the plot
erratic behaviour within a haunting
of The Last Action Hero whereby film
environment.
fanatic Danny Madigan is transported
In Triforms // 1.0., Lawrence becomes
into the surreal world featuring his
The use of audio dictates mood and
a puppet master, synchronizing the
action hero Jack Slater (Wikipedia
colour, controlling the physical pathway
shapes erratic movement to the
2013).
of the object, as the rhythm is the
Lawrence presents a shape dancing to a fast-paced musical rhythm however,
instrumental voice that tells the story.
sensitivity of intricate sound qualities. Overall, the animator maintains a firm
An exaggerated literal interpretation
Without this element, the object looses
affinity between what you see, and hear.
of what film does for the viewer is
dimension as the audience becomes
vivid and relevant to the realism of
limited to one sense, sight.
When conversing with Matt on the
polyhedral animation.
effect of audio in animation, he highlighted the integration of sound
Equally, Lodge (1992, p.135) discusses
within the design process:
the paradoxical theory of futuristic narration being set in the past as the strategy for which to project the viewer
I like to try and consider
into the future:
the audio both in edit and animation. If you can get some nice interplay between them then you end up with a much more compelling end result. (Lawrence, 2013 p.1)
(Tagade, 2012, fig.11)
17
THE LEADING VOICE Evidently, polyhedrons are also used within the commercial structure of music. This dictates an opposite behavioural pattern of form, according to linear narration. As the human voice is heard and the physical presence of
All the windows will be lighter but you won’t miss their place, all the torches will show you the way.
the artist, seen, a clearer story unfolds.
The voice therefore seems to guide the viewer with the use of oral poetry, distinct to that of pure instrumental melodies. Instead, the instrumental sounds remain subtle in the background, directing the viewer to a central figure, as opposed the shape (as the main character).
To exemplify, Dirk Rauscher’s music video for Marbert Rochel’s The Temple displays the singer narrating alongside the solids that gradually unfold the imaginary landscape. Rochel sings:
As Rochel recites this, a series of small wire-framed icosahedral lamps rise from the platform beneath, to represent lights arising from darkness.
(Rauscher, 2013, fig.12)
18
AN INSTRUMENTAL FEELING Returning to an instrumental feel,
Allowing sight to be led by sound
Andres creates a landscape of sound
therefore breeds a more operatic
dictated by the unpredictably of the
production, as a roller coaster of
shape’s movement.
high and low wave frequencies react instantly to the shifting display of
This generates a range of pleasant
emotion from the central personality.
surprises in comparison to Triforms // 1.0., as the sound has no set rhythm.
In this case, Platonic provides a reincarnate cycle whereby the shape
When conversing with the animator on
shifts from angelic elegance to raw
the influence of audio, he stressed its
darkness, and back again.
significance equally to that of Lawrence:
Audio is a very important part of a movie. The strength of a story is almost 50% driven by the audio. I’m actually no audio designer at all but for this piece, I had a vision I wanted to create myself. (Andres, 2013 p.1)
(Andres, 2011, fig.13)
19
5
PROJECT TYPE
20
THE SELF-INITIATED PROJECT Within the industry, the client outlines
In similar fashion, Andres considers
the basic parameters for the job
the personal project as a playground
description within the brief. In relation
fro self-progression whilst considering
to experimentation within polyhedral
freelancing as the pathway for
animation however, projects are mostly
economic stability:
self-initiated. This context provides the animator with a license to ‘roam free’ with the geometric subject, minus any
I love to work on private projects because I can
restriction. For both case studies, animators convey
let out whatever I want
a preference for the personal project as
however I want. As a
practicing free lancers.
freelancer in the business,
I’ve never been that much of a money guy. I’m more of a film guy, and most of the money I’ve made is in defense of trying to keep creative control in my movies. (Brainy Quote 2014)
Whilst the limitation of demand is
When asking Lawrence who he enjoys
you’re more creatively
lifted, the self-initiated project allows
working for most, he provides an
bound to the given
the animator to begin with loose
experienced response, speaking on behalf of all animators on the obvious
concept so you have less
fact:
freedom.
parameters, eventually narrowing the aesthetic preference.
(Andres, 2013 p.1) In this case, Lawrence chose a singular tetrahedron, assigned a purple colour, selected a background, and allowed
Probably myself! Anyone who works within the industry for a while will tell you that because you generally have to
In convergence with this idea,
serendipity to take course.
experienced director George Lucas displays a similar interest in creative control by upholding independent dominance as the key to producing selfsufficient and self-satisfactory films:
As the outcome reflects a high level of technical accomplishment, polyhedral motion seeks to stand most attractive and self-explanatory, without a clientled or monetary purpose.
compromise for clients. Where as if you are in control of the final output then you get what you want in the end.
(Lawrence,
2013 p.1)
(Lawrence, 2013, fig.14)
21
6
YOUTH TALENT
22
THE INFINITE GIF PT. 1 As a refreshing alternative to the short
Though aesthetically contra to
film, fellow motion artist Aniruddh
abstracted geometry, cinemagraphs are
Methta’s Happy Folks combines Cinema
executed with similar principles.
4D mechanics with the Graphics Interchange Format, adding an
In Animated GIFs: the Birth of a
alternative layer of looping infinity to
Medium, artist Jamie Beck explains
the timeless primitive.
the power of subtle motion within photographic animation:
When asking Mehta about the process and message behind his work, he spoke of creating personified emotions in a pulsating manner:
It allows a moment to live on, and there is something fascinating about that.
Happy Folks was a take
Whatever that one thing is
on tiny molecular shapes
that is alive is like your eye
being alive and expressing
is going to go to, it sets
feelings… When I come
the emotional impact of
across an interesting
what the cinemagraph will
feature, I’ll use that to help
be.
me generate a story line
Medium 2012)
(Animated GIFs: The Birth of a
or a concept. This is quite cool because a lot of times, the software itself helps me generate creative ideas. (Mehta, 2013 p.1)
(Mehta, 2013, fig.16)
(Mehta, 2013, fig.15)
23
THE INFINITE GIF PT. 2 Though seemingly a ‘step back’ from the dynamic short-length production, compiling a series of still imagery in such a way, represents the innovative bridge between primary stop-frame animation and sophisticated motion
Simple polyhedron/ platonic shapes have been revisited in the art and design fields many times
graphics. Impressively, the illusion of
over the century. Software
constant smoothness draws the viewer
has made this abundantly
into an everlasting memory of colour and node shifting.
accessible. (Mehta, 2013, p. 1)
Furthermore, the revolution of blogging, promotional, and self-profiling culture has created an accessible platform for
To coincide with this, Meme Factory’s
which to build and distribute moving
Patrick Davidson elaborates on the
polyhedrons at will.
recent online GIF explosion from 20072008, as a result of platforms such as
When asking Mehta how industrial
Tumblr and Wordpress, which enable
software has given character to simple
the young designer to post a portfolio
platonic shapes, he refers to the
of endless online work in this format.
constant reinvention of forms, whilst valuing the democracy of design:
In Mehta’s case, showcasing is further personalized by hosting a fully customized portfolio via Cargo, presenting Happy Folks as an outstanding personal project alongside many other polyhedral projects.
(Mehta, 2013, fig.18)
(Mehta, 2013, fig.17)
24
7
CONCLUIVE THOUGHTS
25
ACCESIBILITY TO SOFTWARE To conclude, this report has served as an examination into the animator’s
In an interview with fellow student and
method behind his madness.
motion graphic artist Ash Beezmohun, his vast knowledge and passion for
Both case studies display a similar
Cinema 4D was most evident when
focus of the polyhedral as a centralized
describing the omnipotent potential of
character, yet as expected, the aesthetic
the animator, once given the freedom to
execution of movement, colour scheme,
manipulate basic shapes:
texture, audio, and cinematography significantly distinguishes the difference in use.
In the world of 3D, a singular Complimentary examples have positioned the short-length film
shape has its own mathematical
in relation to commercial use and
beauty. You can take the platonic
alternative formats thus, showing
nature of a primitive and turn it
completely dissimilar alternatives in order to position it within the wider
into a space ship without taking
context.
from the original structure. It’s
In order to provide the viewer with an open-ended conclusive chapter, one looks toward how future designers view polyhedrons by, measuring their
all about transforming the twodimensional object to give it life in whichever context imaginable.
intent to manipulate shpes as both
It’s almost like playing god in
practitioners and students of design.
a very weird and twisted way. (Beezmohun, 2013 p.1)
As an undergraduate at the London College of Communication, the availability of 3D software on all Apple Macintosh computers within the Digital Space displays an educational demand and growing popularity. Furthermore, considering the technical nature of three-dimensional accomplishment, the prospect of an international and highly lucrative career path encourages young, aspiring designers to continue experimenting with widely accessible tools. At the centre, both MAXON’s 3D Education Scheme and Autodesk’s Software for Students programme provide revolutionary tools…for students…and universities (Maxon 2013), at affordable rates.
(Learning Environmental Design, 2013, fig.19)
26
FINAL EXPERIMENTATION In order to measure how students
Ultimately, it remains the most minimal
This resulted in a positively quick
initially react to the polyhedral form,
with four sides and corners therefore,
range of creative responses, which I
a paper-constructed tetrahedron was
most creatively flexible. The aim was
categorized into five main styles: Intact
provided along with a blank storyboard
to spark imagination with the simplest
Rotation, Literal Context, Decay and
sheet consisting of three frames. A
tool, not to overwhelm the participant
Division, Elegant Panning, and Facet
sample group of 25 designers and
with the most complex.
Deconstruction. Each ad-hoc title
animators were then selected from the
In addition, the shape served a natural
is a bespoke depiction of common
Digital Space to animate the shape from
choice, following the study of Matt
characteristics held within each group.
beginning, to middle, and end.
Lawrence’s work.
When choosing the most appropriate
As a method for motivating individuals
shape for testing, I reverted to the five
to partake, a familiar, yet simple
most basic, platonic forms, selecting the
narrative structure was created to
tetrahedron as most preferred.
encourage an immediate response upon tactile interaction.
BEGINNING
MIDDLE
1
2
3 END
27
GROUP CHARACTERISTICS PT. 1 In order to measure how students
Ultimately, it remains the most minimal
initially react to the polyhedral form,
with four sides, and corners therefore,
This resulted in a positively quick
a paper-constructed tetrahedron was
most creatively flexible. The aim was
range of creative responses, which
provided along with a blank storyboard
to spark imagination with the simplest
I categorized into five main styles:
sheet consisting of three frames. A
tool, not to overwhelm the participant
Elegant Panning, Facet Deconstruction,
sample group of 25 designers and
with the most complex.
Decay and Division, Intact Rotation, and Literal Context. Each ad-hoc title
animators were then selected from the Digital Space to animate the shape from
In addition, the shape served a natural
is a bespoke depiction of common
beginning, to middle, and end.
choice, following the study of Matt
characteristics held within each group.
Lawrence’s work. When choosing the most appropriate shape for testing, I reverted to the five
As a method for motivating individuals
most basic, platonic forms, selecting the
to partake, a familiar, yet simple
tetrahedron as most preferred.
narrative structure was created to encourage an immediate response upon tactile interaction.
ELEGANT PANNING
7 / 25
(Kyriacou, 2013, fig.20)
The first group reflects a triptych
There is a consistent style in
observational recording from multiple
visualization with little variation.
angles. The object therefore remains
The most distinctive series shows an
static, yet the perspective acts as a slow
identical beginning to end, in order
camera rotation within the surrounding
signify a cyclical re-connection. This
space. Rather than creating explosive
bears conceptual similarity to Andres’
activity, it admires the object in its
work.
entirety.
FACET DECONSTRUCTION
3 / 25
(Kyriacou, 2013, fig.21)
The second collection reverses the
a series of polygonal outlines, revealing
This style is probably the furthest from
three-dimensional product into a two-
its hollow construction.
the presented case studies, most suited
dimensional net. As opposed to adding
The story finishing with a bleeding
to the application of two-dimensional
to the shape, it simplifies it further into
pattern personifies the notion of
software, such as Adobe After Effects.
creating more, with less.
28
GROUP CHARACTERISTICS PT. 2 DECAY & DIVISION
5 / 25
(Kyriacou, 2013, fig.22)
The third category provides a visual
within the frame. The bizarre story
In terms of sophisticated manipulation,
effect that disperses a solid shape
showing a series of dancing isosceles
this series most resembles the signature
into a series of smaller pieces. Whilst
triangles, removes the object altogether,
movements shown by both Lawrence
incorporating a textural dimension into
replacing it with multiple elongated
and Andres’ work.
a rigid shape, it uniquely shifts the eye’s
rectangles.
focus from the centre to various points
5 / 25
INTACT ROTATION
(Kyriacou, 2013, fig.23)
The fourth appears not to distort the
the distinctive side-profiles totally
shape at all, but simply to transport
eradicates the three-dimensional
it from beginning to end, via a rolling,
aspect, displaying a two-dimensional
or spinning motion. Whilst remaining
polygon instead.
the simplest method of movement,
LITERAL CONTEXT
5 / 25
(Kyriacou, 2013, fig.24)
The final places the object within
For instance, becoming a tea bag. Most
a realistic situation and regular
interestingly, one participant re-iterated
environment. Though no self-sufficient
its construction by drawing, cutting and
life is given to the shape, the object
building the net.
replaces a paralleled association.
29
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BIBLIOGRAPHY LINKS SKYPE AUDIO CALL
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