Lumino Kinetic and Beyond
A Media Project Focusing on the Properties of Light and the Perception of Space for the Purpose of Visual Art and New Media
by Yuri Endo
Under the Supervision of Professor David Hall
A Thesis Presented to the
INTERNATIONAL DESIGN SCHOOL FOR AVANCED STUDIES HONGIK UNIVERSITY
In Partial Fulfillment of the Requirements for the Degree of MASTER OF DESIGN
December 2012
© Copyright by YURI ENDO 2012 All Rights Reserved.
Abstract This report describes the project, Lumino Kinetic and Beyond, a series of digital media experimentations that explores the properties of light and perception of space, for the purpose of digital media art and product design. Initially documented in the research blog, ubernotes. blogspot.com, this written part of the project mainly concentrates on the recapitulation of theoretical and creative processes behind its production. The first phase of the project focuses on the investigations of the principals of light and optical illusions, while the second phase revolves around the development of installation art which glass prisms interact with an illusionary technique, Pepper’s Ghost, and a photographic and cinematographic process, Slit-scan and Light painting, which precisely take advantage of light’s behaviors. The final phase explores its possible integration into a substantial product, which is capable of being marketed. Research, experimentations and final work are formed by convergence of photography, motion picture, 3D animation and product design that result in a series of installation art exploring the idea of creativity filtered through luminous kinetic interaction. This project concludes that there is a constructive scope for contemporary media art promotion, which can reconstruct a marketable commodity from a unique piece of installation art.
Declaration I, Yuri Endo, confirm that the work and images presented in this report are entirely my own work and effort that it has not been submitted for any degree at any other university. Where information has been derived from other sources, I confirm that this has been indicated on the report.
Acknowledgements This project would not have been possible without the guidance of several individuals who extended their valuable assistance during the process. First and foremost, I would like to extend my sincere gratitude to Professor David Hall for playing the significant role as my supervisor and mentor, providing all the necessary knowledge and support, without which I would not have completed this project. My sincere thanks also go to Professor Jiyoun Lee and Professor Andrea Dichiara for their educative product design courses, Matthieu Tessier and Halim Cillov for their inspiring conversations and feedbacks on my work and Ms. Soo-jung Kang for her continuous administrative assistance over the past years. Last but not least, I would also like to express my gratitude to my parents, for allowing me to realize my own potential. All the unwavering support they have provided me over the years was the greatest gift.
Table of Contents Title Approval Copyright Abstract Declaration Acknowledgements Table of Contents 1. Introduction 1.1. Motivation 1.2. Project Overview 1.3. Goal 2. Project and its Development 2.1. Research and Development 2.1.1 Color of Light 2.1.2 Refraction of Light 2.1.3 Reflection of Light 2.1.4 Diffraction of Light 2.1.5 Slit-scan 2.1.6 Light Painting 2.1.7 Kaleidoscope 2.1.8 Luminous Specimen:ひかりの標本 2.1.9 Pepper’s Ghost 2.2. Prototyping and Evaluation 2.2.1 Device Design 2.2.2 Animation Design 2.3. Installation and Exhibition 3. Conclusions References
1. Introduction
1.1. Motivation My interest in light dates back to my undergraduate studies in visual media studies with specialization in film theory and production. Throughout academia, I have broadened my studies in cinematography, in which I gained a solid perspective on technical aspects of cinema overall, the glee of manipulating the light to achieve artful mise-en-scène. Furthermore, my graduate study in design has given me a broader exposure to divergent use of light; both as illumination sources and art forms. As such, I came to value light as one of the most powerful elements of design, that can embody many idiosyncratic styles, product values, cinematic languages, and perceptions all at once, which I could mix with my previous studies to express my current outlook, as a student who focuses on digital media design. Hence, through this medium and with my expertise in motion picture, I ultimately want to demonstrate light as an artistic and commercial liaison, which digitally links one space to another. 1.2. Project Overview The reminder of this project is organized into three stages: Stage one, Research and Development, presents an overview of the principal of light, from its mechanism to existing art techniques in relation to optical illusions caused by light. In order to gain a rational understanding of history, nature and properties of light, various basic light and optics experiments are conducted in this phase. The results of which are used to develop conceptual projects in the next stage. Stage two, Prototyping and Development, introduces a series of conceptual projects, in which the experiments from the prior stage are used as implementations. In order to achieve evaluation to construct prototypes from various design aspects, this stage is divided into two sections: device design and animation design. As each aspect is analysed, this stage considers the final archetype, which takes this project to the next installation phase.
Stage Four, Installation and Exhibition, presents the project’s final output, which consists of the integration of accumulated research and experiments from previous stages. Thus, correspondingly, the concluding project is formed by convergence of photography, motion picture and product design that results in installation exploring the idea of creativity filtered through luminous kinetic interaction. In the final chapter, Conclusions, the possible future development is synopsized. 1.3. Goal In ancient times, people said to have believed that some inner light coming out from individual eyes illuminated things in view, as car head lights do. It was, Ibn Alhazen, a Muslim scientist and polymath, who radically changed human’s perception of light by presenting his theory of vision (1011-); ray of light are emitted from objects rather than from the eyes, in other words, when we look at something bright, it hurts eyes, therefore the light must be entering the eyes but not leaving the eyes. At present time, thanks to this discovery, we are fully aware that the light is a form of energy, which can be produced, break up into different wavelengths, carry information, and even utilized as various artistic purposes, such as in cinema and art works. Parallel to visual storytelling scheme in the world of cinema and art, each construction of media installation could also demand similar approaches, from its space representation to visual perception, in order to amplify its significance as an artistic creation. Taking inspirations from various visionary techniques concerning the principals of light, the project firstly aims to acquire hands-on comprehension of each technique in relation to light’s behaviors and finally to develop an ornamental product, which elevates its aesthetic and commercial appeal through a digital media installation.
2. Project and Its Development
2.1. Research and Development The first section of the chapter reviews various characteristics of light through basic light and optics experiments, as classified in following categories: color, refraction, reflection and diffraction. The experimentations aims to achieve a rational understanding of history, nature and basic properties of light, which supports developing the project’s conceptual design. 2.1.1 Color of Light In order to recognize any perceptions of color, light is necessary. A green leaf appears green because the light reflects green light and all other colors are absorbed into this specific leaf. While white light from the sun contains all the possible color variations, human eyes are only capable of responding to certain colors and wavelength. The ability of processing color is owing to our eye’s light and colorsensitive receptors, rods and cones, and the color vision may vary between individuals as well as species.
Experiment One Color absorption and reflection When the red light ( from a red dot laser pointer) passes through the red gummy bears, it exits on the other side, yet when the red light is pointed at the green gummy bears, the light does not pass through. When the white light ( from a LED light) passes through the red gummy bears, it makes them appear red. At this point, all the colors in the visible light spectrum is absorbed except for the red. The same results can be observed from the green gummy bears, yellow and orange gummy worms.
Experiment Two Visible color spectrum When the narrow beam of white light passes through a glass prism, the white light is spread up into the colors of visible light spectrum, which is in the same color and order as does in the rainbow; red, orange, yellow, green, blue, indigo, violet, respectively. In other words, white light is the mixture of the colors that prism separates out. Each color has a different wave length and bend in different amount. For example, violet has the shortest wavelength and bends the most,while red has the longest.
Experiment Three Color addition Filament of the back of the light emits all the colors in the spectrum (white light). As also seen in the previous Gummy Bear experiments, when the red filter is placed in front, only red passes through the filer absorbing the other colors and appears to give out red light. Green and blue filters react in the same exact manner. Red, green and blue are primary colors of light. Over wrapping the three makes white light. On the other hand, combining a pair of primary colors gives the secondary colors; yellow, magenta and cyan. For example, adding red and green makes yellow, red and blue makes magenta and green and blue makes cyan. As seen in the bottom image, when the object is placed in front of white light, it casts yellow, magenta and cyan shadows.
2.1.2 Refraction of Light Experiment Four Light refraction When a light wave passes from one
medium
(material)
into
another with a different density, more precisely, only when there is a difference in the index of refraction between the two media, the wave changes its direction. This change of direction as the wave enters to the second medium is called refraction. In this case, the light changes its direction as it passes from air into glass then back to the air.
Experiment Five Bending a spoon When the glass is filled with water, the spoon appears to be bent through the side of the glass. When light passes from a medium of higher density to lower, it bends off the normal (the perpendicular to the surface it strikes) and when it passes from medium of lower density into higher it bends to the normal. In this case, as the light passes from the glass to water, the light slows down and changes its direction and as the light leaves the glass, it picks up its speed again. As a result, the spoon look as though it is bent since light travels slower through water than through air.
Experiment Six Raising a coin When the bowl is empty the edge of the bowl prevent us from seeing the coin inside fully. Whereas, when the bowl is filled with water, the light bends over the edge of the bowl and the part of the coin becomes more visible. The coin appears to be more visible in the oil as compared the water because oil has a higher index of refraction than water or air. In other words, a medium that has higher index of refraction bends light more than another (ex. diamonds). This effects of refraction are also responsible for the mirages observed on a hot, sandy desert and the bottom of a pool looking closer to the surface than they actually are.
2.1.3 Reflection of Light Reflections happen when light hits surface of a medium (incident ray), and bounces back (reflected rays). In other words, reflected waves are neither transmitted nor absorbed but are reflected from the surface. Experiment Seven Laws of Reflection When the light hits mirror, the light reflects back in different direction at the same angle as the incident ray, due to the fact that he angle of incidence is equal to the angle of reflection. The amount of light that is reflected from a surface depends on the nature of the surface and the angle at which the light strikes the surface.
Experiment Eight Total Internal Reflection Total Internal Reflection occurs when the light is passing through a medium with higher refractive index to lower refractive index at the angle of incidence greater than the so-called critical angle. For any angle of incidence larger than the critical angle, Snell’s Law does not apply for the angle of refraction. In that case, obeying the Law of Reflection, the light stops crossing the boundary surface and completely reflects back internally. In this experiment, the light is passing from the a semi-circular glass ( higher refractive index ) to air ( lower refractive index ). When the light is pointing towards the center of the flat face at certain angle ( the angle of incidence above the critical angle), it hits the curved surface but does not refract at the boundary. This optical phenomenon would not occur when the light is passing from air ( lower refractive index ) to the glass ( higher refractive index ). Optical fibers and prismatic binoculars take advantages of this physical property. This is also what makes diamonds sparkle brighter than the rest ( Diamonds have unusually high refractive index).
2.1.4 Diffraction of Light Experiment Nine Single and double slit experiment While a narrow light beam is aimed at single slit, the light goes through one slit and hits the screen and creates a single light streak, when the light is aimed at two slits, the light goes through two slits and the light on the screen spreads out into many blobs of light (the size of the blobs becomes wider towards the sides.) in other words, two light waves overwrap to create an interference pattern.
2.1.5 Slit-scan The slit-scan photography technique is a photographic and cinematographic process based upon the camera’s relative movement in relation to a light source. By combining camera’s long exposure time and a moveable slide with a slit-shaped aperture set directly in front of the camera, a certain part of the subject seen through the slit is being exposed at one time and the camera captures it as a single photograph. As the slit travels across the camera, the step is repeated for each frame and produces a consecutive light trail from the first to the last frame of the image. In other words, the entire process captures an image revealing the trail of subject’s timebased movements in deformed fashion. This technique was traditionally used in static photography with standard film photography camera and was perfected for the creation of spectacular animation and became widely used for motion pictures. In today’s digital realm, a chain of image slices are extracted from a sequence of video frames, and combined into an image sequence.
Experiment Ten Slit-scan experiment These images are excerpts images from a video sequence, which a toy robot slowly rotates 360째on a fan. In order to achieve slit-scan effect, After Effects is used for post-processing. Video: Slitscan Test 003: Mr. Roboto (https://vimeo.com/39142913)
The composition is consist of 360 layers each with a 2 pixel height mask. The top of each frame is 15 seconds earlier than the bottom of each frame, and the time and motion is represented in the image vertically.
2.1.6 Light Painting Light painting is a photographic technique, which can be achieved by a moving light source and a slow-shatter speed. By moving a hand-held light source or by moving the camera, the images captured under a slow shatter speed shows a trail of light movements, and
create artful luminous
motion as photographic images or motion pictures. Experiment Eleven Light painting experiment Two images show night traffic captured with long exposure time: Figure 1. ISO400/ f 22/ s20, Figure 2. ISO400/ f 22/ s10. As an extra experiment, the bottom image of car head lights is captured with short exposure time: Figure 3. ISO400/ f 5.8/ s1.3.
2.1.7 Kaleidoscope As the light enters one end of a kaleidoscope, a tube shaped device, the objects inside are presented as colorful, geometric patterns due to the reflections in the mirrors. Twisting the end piece makes the objects tumbled, and results in further presenting varieties of color and patterns, as if they were locked up inside of the tube. Experiment Twelve Kaleidoscope experiment This experimentation investigates symmetrical oscillation pattern formations
that
kaleidoscopes
create. The images displays the result of what can be observed through one end of a kaleidoscope.
2.1.8 Luminous Specimen:ひかりの標本 Conceptual project In connection with a product design course, which aims to explore the world of interior design,
technologies
and
materials
to
develop a contemporary bathroom product and ambience within, this experimentation’s goal is to explore alternate possibilities of a bathing and grooming space where light therapeutic values are digitally accentuated as digital media installation. Inspired by the visual effect resulted by the previous kaleidoscope experiment, this simple installation is constructed with a glass prism attached to a LCD screen, and the animation is projected on the prisms’ surfaces from behind, which seals light source inside of a prism as if it were a specimen. The subtitle, ひかりの標本 (Hikari no hyohon), signifies Japanese for “luminous specimen.”
Video: Luminous Specimen (https://vimeo.com/45776245)
Designboom. (2012, July 20). Yuri Endo: Luminous Specimen. Retrieved http://www.designboom.com/art/yuri-endo-luminousspecimen/ Amusement. ( 2012, July 23). Luminous Specimen, digital images trapped in a prism. Retrieved http://www.amusement.net/2012/07/23/ luminous-specimen-digital-images-trapped-in-a-prism/
Mentioned articles Luminous Specimen has been featured in various notable online publications, such as Designboom and Amusement.
2.1.9 Pepper’s Ghost Pepper’s Ghost is an illusionary technique, which directly connects to how light and reflection behave. By
utilizing
special
lighting
techniques and plate glass, it makes viewers see objects that are not physically there. In that sense, this method has been frequently used for theater, haunted house, magic tricks and special effects in movies.
Experiment Thirteen Pepper’s Ghost: Box The box (H: 8cm × W: 16cm × D: 8cm) and its lid ( H: 8.3cm × W: 16.3cm × D: 8.3cm) are made out a sheet of white cardboard. A sheet of clear acrylic (H: 8cm × W: 11.4 cm × D: 0.2 cm) is used as a reflector. Inside the box, two architectural scale model figures are placed to create a “prop” (the male figure) and a ghost (the female figure). As a result, the female ghost appeared around the left shoulder of the male prop.
Experiment Fourteen Papper’s Ghost: Glass For this experiment, a sheet of photo frame glass, LED lamp,black textile and a Munny doll to are used to create another Pepper’s Ghost illusion. The sheet of glass is placed in front of the doll and the light source is directed at it. The background is covered with the black textile so the ghost can be seen clearly. When the light hits the doll, it gets reflected on the glass and creates its ghost over the glass. The ghost can be only seen if viewers stayed in front of it. In other words, if it is viewed from the sides or look down from higher position, the ghost would disappear.
Experiment fifteen Pepper’s Ghost: 360° Illusion Pyramid On the bottom of the pyramid, made out of a sheet of OHP transparent film, a 6×6 (cm) white cardboard is placed, and after removing the top parts of the pyramid (around 9 mm each) a 1×1 (cm) cardboard is placed on the top as dimmer. The pyramid’s angle of inclination is approximately 45°. A 2D image, which is consist of 4 exact same skulls, is uploaded in the ipod. The top of the pyramid is placed in the middle of the 4 images to create a faux holographic illusion.
Video: pepperpod test 001 (https://vimeo.com/50001628)
2.2. Protoyiping and Evaluation This second stage of the project aims to generate a series of conceptual prototypes as follow-ups to the experiments from the prior stage. Focusing on preserving the elements of Luminous Specimen, such as its portability and use of a triangular shaped object on an iPod, this stage is divided into two sections: device design and animation design. The device design focuses on developing a portable sculpturesque instrument that can produce holographic illusion, while the animation design concentrates on the 3D reproduction of slit -scan and light painting techniques. The device is designed to be placed on a LCD screen of a mechanical device, such as iPod Touch, and iPhone, thus accordingly, the animation is also aimed to be played on the said mechanical devices.
2.2.1 Device Design Prototype One Taking inspirations from previous Pepper’s Ghost: 360° Illusion Pyramid experiment, this first prototype, Pepper’s Ghost: 360° Illusion Pyramid Redux, upgrades the former design.
Prototype Two The second prototype focuses more on the aesthetic appeal of the device. To highlight its ornamental value, the casting resin method is used. In other words, it is made out of a resin which a pyramid shaped glass prism is cast inside of it. Unfortunately,
this
mock-up
fail to work properly due to the difference between the refractive index of resin and glass.
Prototype Three Inspired by science laboratories, the third device is consist of
a resort stand ring
attached to the retort stand, which holds the pyramid shaped prism. The pyramid’s angle of inclination is approximately 45° Unlike the previous prototype made with casting resin, this version presents inside animation effectively.
Prototype Four (Final) The idea behind this final prototype is to create an integrated version of the Illusion Pyramid, that can be served as an ornamental product, which elevates its aesthetic and commercial appeal through a digital media installation. Combining four glass prisms, a set of two large and two small glasses, creates a pyramid shape in the center of the object. Corresponding to previous experiments, the pyramid’s angle of inclination is set approximately at 45°. Thus accordingly, the center part is empty and this provides the correct refractive index for a faux holographic ghost to be shown from various angles.
2.2.2 Animation Design The concept behind the animation is to take advantage of the geometric appearance of the Chinese typography to create an illusion, in which holographic texts float inside a set of prisms. Animation One The initial test animation, created by Autodesk Maya, is constructed by minimally structured 3D Chinese characters simply rotating.
Video: Lumino Kinetic Lab test 001 (https://vimeo.com/52205011) Device + anim test 002 (https://vimeo.com/55032414)
Video: morphv2 (https://vimeo.com/54816883) Shyomei (nParticles + morph) render test (https://vimeo.com/54747887) Shyomei + Rinkou (nParticles + morph) render test (https://vimeo.com/54757543)
Animation Two Taking inspirations from Light painting, the second animation features one character morphs into different sets of characters.
Animation Three The third animation is based on Slit-scan, presenting unique deformations of several different sets of translucently texturlized characters. All Chinese characters used in said animation signify light or luminosity.
Video: Hikari + Ghost + Slitscan render test (https://vimeo.com/54664151) Kirameki + Ghost + Twist render test (https://vimeo.com/54698057) Kirameki + Ghost + Twist + Sine render test (https://vimeo.com/54710455)
3. Installation and Exhibition
Video: Luminogeist (https://vimeo.com/55029096)
Installation Luminogeist: 光の幽霊 In this final stage of the project, the device and animation design are finally merged to create a digital media art installation. Luminogeist is a coinage that deprives from 光の幽霊 (Hikari no yuurei), which is Japanese for “luminous ghost.”
Video: Lumino Kinetic and Beyond (https://vimeo.com/55895992)
Exhibition Lumino Kinetic and Beyond The final output includes, its demonstration and process video has been presented at IDAS (Hongik
University)
Master’s
Degree Show 2012 from 19th to
26th
December,
2012
at
Dongdaemun Design Plaza in Seoul, Republic of Korea.
3. Conclusions
Inspired by various visionary techniques in relation to the characteristics of light, the project succeeded in developing substantial
product
prototype,
an
which
highlights the purpose of both digital media and product design. As a future development, this project will focus on its promotional strategy to be able to marketed as a small scale portable art installation, which anyone can easily access to. It goes without mentioning that the internet has become one of the most efficient marketing tools as emerging artists of all kinds. Artists’ websites, blogs and social sites are the primary vehicles for showcasing own works to receive recognitions. On that note, in conjunction with traditional promotional methods to get the product in the market, at this early evolutionary stage, this product would focus more on the online marketing. For instance, as the sample image indicates, the device would be properly packaged including one animation and sold from its official website. Additional animation would be also downloadable online.
References
Amusement. ( 2012, July 23). Luminous specimen, digital images trapped in a prism. Retrieved http://www.amusement.net/2012/07/23/luminous-specimen-digital-images-trapped-in-a-prism/ Bachmann.Ulrich (2011) Farbe und Licht/Color and Light.Eine Multimediale Publikation Designboom. (2012, July 20). Yuri Endo: Luminous Specimen. Retrieved http://www. designboom.com/art/yuri-endo-luminous-specimen/ Eat The Sun.Dir. Peter Sorcher. Sorcher Films, 2009. Entertainment Designer. (2011, August 22). The enduring illusion of pepper’s ghost. Retrieved. http://entertainmentdesigner.com/history-of-theme-parks/the-enduring-illusion-of-peppersghost/ Kenplatz.Nikkeibp (2010). Hikari wo irodosu hikari ga kagayaku: LED to souzouryoku ga deautoki. Nikkei Architecture Gloobbi. (2012). Featured video: luminous specimen. Retrived http://video.gloobbi.com/ videos/30/luminous-specimen/ Light Fantastic. Dir. Jeremy Turner, Annabel Gillings, Nick Davidson, Paul Sen. BBC FOUR 2004 Science of Light-Peppers Ghost. Dir. Lina Bjorn (2012). Retrived. https://vimeo.com/33117286 TIP. ( 2012 ). Luminous specimen. Retrived http://thinking-in-practice.com/luminous-specimen (http://www.webexhibits.org) (http://interactagram.com)
(http://micro.magnet.fsu.edu) (http://abyss.uoregon.edu) (http://www.themotionofpictures.com) (http://theb-roll.com) (http://www.farbeundlicht.ch) (http://makeprojects.com) (http://www.precinemahistory.net) (http://entertainmentdesigner.com)