Digital Photography Project II – Name From Objects

For this composition, the goal was to create my first name with anything I could find out in the world. This was the result:

Jesse Composition.jpg

I wanted to achieve a monotone theme to the composition, by utilizing paper, metal, or infrastructure. As for the second S, there were several edits it had to undergo in order to fit the others.

First, since the photo was taken under a yellow light, the hue and saturation had to be edited in order to change the lighting to appear more like white light. Second, I wanted the S to encompass more of the portrait space, so I cropped it differently in order to achieve this effect. The before and after can be seen below:

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Digital Photography Project 1 – Color

For this project, I captured the color red in different aspects of my life. The main goal was to take photographs of the color red in varied shades, tints, or tones, but also photograph it in a way that would leave the subject ambiguous. This challenge added a bit of mystery to the compositions.

First, I used the Canon T6i to produce 10 different pictures (shot in RAW). They can be found below:

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Next, after critique, I chose 2 of my better photographs to edit via Adobe Lightroom and Photoshop.

2 Chosen Photographs Pre-Edit:

1)

IMG_0359

2)

IMG_0418

2 Chosen Photographs Post-Edit:

1) The main goal of this edit, was to remove the blurred edge created by the field of view around the tip of the red pen. I did so by using Photoshop to cut out the main subject of the photo to a new layer, and use the content aware tool to the background to create a cleaner edge and keep the background blur as intended. I also wanted to make the pen more present in the composition through cropping and increasing its saturation.Pen Composition 1

Below is an alternate version of this pen composition, playing with how I cropped the image and shifting the color red to a more non-centralized location to show punctuation.Pen Composition

 

2) The main goal of the second edit, was to achieve a “graphic” look to a goshuin stamp. I wanted to contrast the original nature of the object, being hand made, and make it look as if it was created digitally by saturating the red, and cropping out the portion of the page that showed the crease in the sketchbook. Goshuin Composition

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Light to Form: Max 7 Interaction

A few weeks ago, I had posted a big idea of what I could possibly do with the program Max 7. The diagram of which I created below: Diagram

The whole goal was essentially to somehow capture the light that bounces around in a space, and for max to create some sort of three dimensional form. In my ventures so far with max 7, I had gone through two major iterations in the path towards my main goal.

On my first path towards this goal, I utilized the plug in for jit.mo, which allows for the creation of three dimensional shapes that were sort of pre-made by its creator. I used their patches to not only try to create three dimensional form, but also as a learning exercise. From this pre-made patch, I could find out what each component of the patch was controlling on the three dimensional output, and almost “break” the patch in a way that allowed me to get closer to my vision and expand my knowledge. I also added on to their patch, adding the additional input of my webcam to control what I was seeing on screen.

Below is a screen capture of how my patch behaved on its first iteration:

As you can see, the patch was responding to my motion, and how the light was interacting with the camera. This was definitely a step in the right direction, but it presented a few problems:

  1. This patch was almost pre-made for the specific output it was showing, so the actual forms and some of the rotational and color movement were arbitrary, and were not decided by my webcam.
  2. It tended to be very rigid, and when not interacted with it still went back to a default that was in motion.

These problems lead me to actually scrapping this idea entirely. What I still took with me moving forward was my better knowledge of the programs parameters, and how I would go about attaching my webcam input into the max patch more efficiently.

In this second iteration, I was able to get much closer to my original vision. I was able to follow some youtube tutorials to create shapes that map out perpendicular lines on a planar surface. These lines, when utilized as a group are able to create an almost topographic model of what is imputed from the webcam. An example is shown in the video below:

Here are some more examples of objects I had copied with this software as 3D models:

This version also allows for the user to pan around, change the scale of, and freeze the model in place, allowing for more control over the output than in my previous iteration. This control of the end product helped me realize the potential application for this kind of software.

Often times in my work, I appreciate the creation of a solid physical model, but sometimes I wonder if the model really shows much more to a client that what a digital model can do in this day and age.

In real world situations, architects or anyone of any design profession dealing with models, could essentially scan the physical model that they have created, and then utilize this program to make a digital model that can be manipulated as they needed or even just to use as reference on screen.

With the application of a fully fleshed out version of the software that I put together in max 7, the designer can use their time more efficiently, creating quick physical mock ups and bringing them straight into their computer. It would bring the now older form of creating an idea three dimensional and make it more relevant to modern architectural design programs.

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Design Distruptors Experience

Recently, I had the opportunity to go over to AU to view an early screening of Design Disruptions. This documentary took designers from all disciplines, graphic, package, game, and social media design, and interviewed them on their philosophies of the profession.

I found this documentary thought provoking for a number of reasons: The first being that they tackled really the mentality behind what it means to design. That its not so much about the mastery or the use of the programs, but what programs you use to solve any of your design decisions. They often emphasized that, designing is not about creating art pieces or things that just “look good,” its about solving problems. They even went on to say that art is about proposing questions, and design is about solving the questions of the world that are proposed.

One thing that I did notice, and maybe this is my bias, is that there was not a lot of representation of architecture in this video. I didn’t think that they had left it out on purpose, but it did make me think that possibly, from a design point of view, architecture may not be as recognized as the design profession that it used to be. We all definitely strive to make it so, but architecture definitely has a lot of outside influence in the modern day, that can definitely stifle the architects design expertise and vision. This documentary definitely got me thinking of how I can contribute to the realization of designers, in terms of my own life in architecture.

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Max Outline

I thought of a concept for what I could do with the program Max once we started handling it in our projects. Its centered around the idea that light is the controlling factor of all the living environment that we experience. It bounces off of materials and either is included or excluded from spaces to create the desired three dimensional forms that an architect had in mind for the user.

I thought that if a sensor could pick up the light that enters different styles of architecture, I.E. Gothic vs. Modern, it could pick up how light interacts with an interior space. How dim or colored it is, how it bounces off of the surface materials. Then the sensor would input that information into Max, and max would then export an algorithm to create basic 3 dimensional models that are “in the manner of” the architectural style it surveyed. Below is a diagram of the process:Diagram

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Sound Project

The following is another rendition of the two animations I previously made with adobe after effects. Through the use of royalty free sound effects, and adobe audition, I was able to add sound effects to the visual queues that were showing on screen, increasing the immersion and depth of the creation. Links to both can be found below:

Snap Crackle Pop (Pop Pop Snap -Crackle-):

The objective of this exercise was to create a quick composition of audio using a snap, crackle and a pop, within a time constraint. I decided to use the crackle as the back drop to the track and create the rhythm with snaps and pops. These sounds were all made by me, snapping for the snap sound, creating a pop noise with my mouth for the pop, and actually using a wrapper in order to create a consistent crackle for the background noise.

Marlborough Madness with Sound:

My previous iteration of this animation almost relied on the user to add in the confetti pop sound in their head. With my new experience in audition, I realized the opportunity for sound design to really help communicate the ideas that are in my head, more clearly to an audience. This also can add the versatility of the piece, allowing it to be an intro or outro to a video, or if no sound is required it can be muted. Adding more information allows the client the ability to either utilize or take away aspects such as sound or movement depending on their desired use of the logo and typeset.

Numbers with Sound:

Much like the Marlborough Madness piece, the numbers piece with the additional sound communicated the idea a lot better. I went into the numbers piece wanting the outline to seem like its heating up. I utilized the sizzle and pop sound effects from a royalty free website to help add that feeling to the animation as the letters began to rotate more rapidly as it sizzles and suddenly pop, almost like popcorn.

Rio Carnival:

The Last entry is my addition of sound to the Rio Carnival video.  I wanted to explore creating my own sound for this video, instead of relying on royalty free sound effects. It was an experience that I would like to explore much deeper in future projects, and possibly apply what I learn from sound recording back tho this Rio project later down the line.

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Adobe Audition – Snap Crackle Pop

The objective of this exercise was to create a quick composition of audio using a snap, crackle and a pop. I decided to use the crackle as the back drop to the track and create the rhythm with snaps and pops.

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