Flat Kirigami Architecture and Projection Mapping

Last year I did a little projection mapping onto various boxes using a full screen drawing program  and a projector to make a video clip the right size. The results were interesting but the method leaves something to be desired so although I quite liked doing it and really like projection mapping I parked it.  

Recently I have been making Flat Architecture models and have been inking some of them to show details such as windows, floors and brickwork.  It had occurred to me that projection mapping onto them would allow me to show these among other things and so I have had another look at the software available and there are a couple of quite nice pieces of software with free trials LPMT and Painting with Light.  There is also VPT which is totally free and reasonably documented, this test was done with VPT.  

If you are interested the artist Alex May who did a seventy five minute live performance at the Tate using Painting with Light also wrote the software, there is a shortened version of the show on

http://www.alexmayarts.co.uk/art/painting-with-light-at-the-tate-modern/

Levels of Tumblr.

inksmithart:

helioscentrifuge:

1 follower = egg

10-40 followers = hatchling

50-99 followers = baby dragon

100-349 followers = dragon

350-500 followers = still a dragon

501-799 followers =  mega dragon

800- 4,999 followers = super hella dragon

5000+ followers = UNHOLY OFFSPRING OF LIGHTNING AND DEATH 

These are the legit numbers.

Neat! I’m a dragon!

I’m a baby dragon

Pleasant Sunday Afternoon

The title of the post is an obscure reference that your Grandma might just be old enough to get, or you could Google it.

Went to the Art fair that Amy advertised in Manchester today next to Victoria square where I have a couple of friends so I called in while waiting for the performance and Bryan gave me coffee.

The ever elegant Amy was being a model for Emily Speed’s piece which is a dress/book of architectural drawings of the area.

Photograph one is of the wall of one of the buildings and is I suppose an oxymoron after the nature of when it says “This page is deliberately blank” in a book and of course then by definition it is not what it says it is.  

I feel a series of paintings stating “Cette toile est délibérément vide” coming on, has to be in French, Rene Magritte, “Ceci n’est pas une pipe.” and so on.  Interestingly if you were to project the statement onto the canvas, what then in that the canvas is indeed physically still blank, or if you were to form the words from raw canvas the statement could indeed be true.  This is getting silly.

Image built with klear
Twigg and Dave you are going to want to play with this app if you don’t already know about it.

Image built with klear

Twigg and Dave you are going to want to play with this app if you don’t already know about it.

Hemispheres and Cones

So today I made yet another maquette, this time I got the theory right and the measurements approximately so and what I now have is just about a hemisphere, made out of card looks like a lampshade but I now understand pretty much how to get what I want.

There is a problem however, since I am interested in the live edge effect of the acrylic and the brightness of this effect seems dependant on the surface area of the face of the material each hoop will have to be at least a couple of cms on the face and ideally quite a bit more. 

The diagram shows that the ability to use concentric circles to do this and thus avoid material waste is much reduced when you get to the largest.  I think I may need four or five sets to get the requisite diameters and double this to make the sphere.

I think that I may try to make a more or less full sized maquette out of Correx and in any case I have several things to do: -

  • Consider what full size would actually be, with reference to cost of materials and the largest sheet size the laser cutter can deal with.
  • Think some more about the best way to get least wastage
  • Cut some samples of increasing face width to see where the increase in edge lit effect with increase in face area seems optimal in terms of material use/wastage 

Cost Benefit analysis in Art what is the world coming to?

Sorry Aisha it’s good but not as good as the original a response to http://splinter-eye.tumblr.com/image/95213142947
Hylas and the Nymphs
Waterhouse, John William R.A. England 1896 oil paint 132.1 x 197.5 x 11.4 cm
Presently in the City Gallery Manchester
"Hylas was one of the Argonauts who sailed with Jason in search of the Golden Fleece. When the adventurers harboured at an island Hylas’ task was to search for fresh water for the crew. He found a gladed spring and was filling his pitcher when he was encircled by water nymphs. Hypnotically, they drew him into the watery depths and although his friends searched for him, Hylas was never seen again.
In Waterhouse’s hands, a myth explaining the drowning of a youth amongst sinuous lily leaves and stems, becomes an evocation of sensual female flesh, an immersion into the deadly allure of the femme fatale.”
see http://www.manchestergalleries.org/the-collections/search-the-collection/display.php?irn=190

Sorry Aisha it’s good but not as good as the original a response to http://splinter-eye.tumblr.com/image/95213142947

Hylas and the Nymphs

Waterhouse, John William R.A. England 1896 oil paint 132.1 x 197.5 x 11.4 cm

Presently in the City Gallery Manchester

"Hylas was one of the Argonauts who sailed with Jason in search of the Golden Fleece. When the adventurers harboured at an island Hylas’ task was to search for fresh water for the crew. He found a gladed spring and was filling his pitcher when he was encircled by water nymphs. Hypnotically, they drew him into the watery depths and although his friends searched for him, Hylas was never seen again.

In Waterhouse’s hands, a myth explaining the drowning of a youth amongst sinuous lily leaves and stems, becomes an evocation of sensual female flesh, an immersion into the deadly allure of the femme fatale.”

see http://www.manchestergalleries.org/the-collections/search-the-collection/display.php?irn=190

On making mistakes and making the same mistake twice.

The first photographs in this post are not mistakes, I now have two refurbished luminaires just lots more to go but at £10+ a pop for the bulbs will be doing it piecemeal. (Pop, bulb, get it?)

Now to the mistake part, I have found a relatively cheap supplier of live edge acrylic sheet and have in mind to make a large spherical piece out of laminae separated by gaps.  So what we have in the photographs is a maquette of concentric circles each two cms smaller diameter than the one below it and overlapping by one cm the gap between each one being 1 cm, with sufficient gaps to get the radius of the sphere. This repeated 1 cm up and 1 cm in gives a constant angle of 45 degrees, not the formula to get a hemisphere and I should know this having made exactly the same mistake trying to make a sine wave and ending up with a saw tooth

Tomorrows task then is to make another maquette where the gaps between laminae are still 1 cm but the diameters of the laminae are set by the width of a hemisphere at the relevant point.  I have no doubt that there is a way of calculating this, there must be since it is possible to plot the graph of a circle but I will draw it and measure the drawing.  I could of course use concentric circles as above but then I would have to vary the gaps between the laminae and I think this would look strange.  

Learning point, my late father-in-law was a joiner and used to say measure twice and cut once, in this case by making the test pieces I have wasted some time and two sheets of card rather than twenty quids worth of acrylic.

Nice lampshades though.

This is the kind of Youtube advert that I would like to see more of.

You know how it is, you go to YT to look at a vid for something and an advert comes up and as soon as you can crash out of it you do.  This started and I watched all five minutes of it, it’s actually an advert for Come to California and to Siverdale in LA in particular.  

There are people who you think I would go for a beer with this guy and here’s one, Adam Tenenbaum.

One of those rare days when things just seem to fit.

Photographs: -

  1. The bulb I have been waiting for had been delivered to the wrong address and now to mine, tested the wiring and put the bulb in, fiat lux.
  2. Three hundred watts even with the sun shining through the skylights casts a good shadow on my Kirigami architecture.
  3. Solvent welding Perspex works really well when you have a good area for the joint, less so when only a couple of square mm, so used glue
  4. Second one made up and shown with first
  5. As above
  6. Turned the lamp onto the sculpture and look pretty shadows and projections.
  7. When you get the right angle all you see of the orange is the edge
  8. Other way round and light on, interesting mixture of real and projected
  9. Oblique view to show shadow/transmission

In spite of suggesting that everything went well today it did take me all morning to glue these things together but I am really pleased with how they have come out. 

Laser Cut Perspex 

This is my acrylic ziggurat made from Perspex lamellae, the individual slices are not glued and so the conformation of the object is fluid.

Photographs one, two and five the step is on two sides and the other sides are aligned.

Photographs three and four this should perhaps be called a taruggiz since it is an upside down ziggurat bowl shape that balances relatively easily on the less than one cm square smallest piece until of course you come to pick it up.

Points to consider: -

I think perhaps I need to duplicate it so that I can put the lid on it as it were, or better yet make it out of concentric circles to form a hollow sphere.

I accept that there is an aspect of naff tastelessness in this suggestion but cut in the yellow edge lit Perspex it would absolutely shout at you.

I want to look at lighting it with lasers and projecting onto and through it, things to play with next week

Wildlife in Salford, and believe me there is some wild life in Salford.

Needed some glue the other day, to stick stuff with not to sniff so I walked over to the shopping precinct and on the way came across this bracket fungus growing on the stump of a tree, I believe it to be Chicken of the Woods fungus which is apparently edible very tasty and can be frozen, needless to say I am not going to risk it although apparently it is one of the easiest edible fungi to identify and has few poisonous look alikes.  

A New Perspextive on Positive and Negative Spaces.

My mother always used to tell me that sarcasm is the lowest form of wit, so I imagine that my sort of pun sits just a little above that.

Today has been really very good, it is remarkable how much work you can produce in a couple of hours, if you have the help of an expert (thank you KZ) and several tens of thousands of pounds worth of equipment.

Photographs 1 and 2 simple geometric positive and negative space shapes cut from edge lit Perspex, these will be assembled into free standing sculptures when they have been cleaned.

Photographs 3 and 4 I wanted a series of concentric rectangles so that they could be assembled into a ziggurat and it turns out that there is a lower limit to how close together they can be cut without the Perspex slumping because of the heat.  This is a series of frames which are too warped to be stacked square and so have been rotated by about 45 degrees per step, not unappealing.

Last photograph, with about 10 mm between each cut the material stays rigid and flat and can be stacked squarely, so we have a sort of ziggurat or step pyramid of which more later.

Kirigami Architecture, an opportunity for OCD

Some while ago a Foundation tutor said to me “Paul I think you need to look up Process Led Art”.  When I did I recognised certain aspects of myself and the way I make work.  

Sometimes I will start something knowing full well that I will feel obliged to finish it, even if this means spending ten or twenty hours doing a repetitive task such as drawing bricks.

  • Photo 1 Decided to try to make a factory chimney and ink the brickwork, cobbled it up due to perspective issues and not being able to count
  • Photo 2 Second iteration, much more thought gone into this one will take several days to finish
  • Photo 3 Detail of above, 400 bricks down about 10000 to go

This when it is finished will be a fudge, the taper in a factory chimney is due to the fact they are narrower at the top, compounded by perspective since unless you are a steeplejack you always see them from the bottom looking up.  This flat kirigami drawing has the same number of bricks at the top as at the bottom just reduced in size for the single point perspective that I have used.

I don’t really have OCD just a few minor tendencies in my process but having lived with someone whose OCD was pathological have the utmost sympathy for sufferers and collaterally damaged bystanders.