ITC: Polyhedral Animation

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)

6

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)

7

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)

9

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)

14

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)

15

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)

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5

PROJECT TYPE

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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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31