Teaching Appendix Pattern

2.2 TEACHING APPENDIX ii. Course Taught

DV2011 Pattern Art Design and Architecture

LEARNING OBJECTIVES The objective of this course is to explore potentials for pattern and ornamentation using digital image technologies and fabrication methods for art, design and architecture.

CONTENT Experimental and traditional pattern making methodologies will be translated into decorative surfaces and space structures on a small and large scale. From fashion to product, from interior design to architectural installation, animation and interactive arts, pattern will be explored and its application in the artistic and commercial domain. The class will look into how the image combined with digital and traditional painted and drawn mediums affects the significance of the surface, structure and space. In part, explored will be assortment of special commercial and custom-coated substrates, such as textiles, metal, plastic/ holographic film and laminates, through 2D and 3D digital printmaking, as well as large scale rendering and digital pre-visualizations for art space installations will be formalized. The class would briefly touch up on technological interfaces and programmable pattern surfaces for future collaborative team projects between artists, designers and engineers interested in smart surfaces and biologicallyinspired organic patterns. This class is interdisciplinary and open to artists, designers and engineering branches.

LEARNING OUTCOMES To give students a broad overview of the range of creative options and practicebased understanding within the field of digital imaging and fabrication methods.

STUDENT ASSESSMENT a. Final Exam: 25% b. Continuous Assessment: 75% (of which at least 15% is participation) Continuous assessment components may include: • Studio-based exercises and projects • Individual, group and team-based assignments

2.2 TEACHING APPENDIX ii. Course Taught

Project Briefs Project / SUPERNATURAL FEAST Description

Use a simple nature inspired form to create a complex surprising pattern.

Drawing from systems found in nature design one or more motifs, multiply and arrange in orderly sequence. The goal is to use same motif but in each design vary orientation, proximity, scale, and color, contrast and gradation; motifs will be grouping into overlapping lines, forming grids and intricate pattern systems.

Outcome

Output to be decided collectively in class: It can vary from: a) A0 poster with all of the pattern variation layouts, b) projection, c) animation, d) wall graphic c) 20 bite size edible pieces inspired after one motif/form All of the patterns to be stored as soft copy and planned to be included in final portfolio.

Objective

To explore how to produce patterns and how to weave complexity out of basic elementary structures To use illustrative skills and mixed media to develop motifs To introduce the series of complex pattern studies

2012 Project / SKINS Description

Project aims is to explore tesselations and multiple morphing patterning systems as a structure across the continuous 2D surface.

Rather then using regular repeat systems the patterns should be reassembled and/or attached in organic way.

2D surface(s) will be scored and cut into intricate dense, porous and open-celled meshworks.

Rather than discarding the cut out, (negative shapes )– the small pieces that fall out of the sheet,- could be reattached.

“Skins “ is project about 2D surfaces, flat paper cutouts articulated to change their state into fully three dimensional structure/installation into an interface between the “body” and the architectural environment.

Outcome

A three dimensional installation/structure limited to two dimensional surface(s) suspended, pinched, folded, layered or strung together in space.

Objective

To explore how to produce structural patterns To introduce the series of complex tessellations pattern studies To understand materiality and structure Ti be introduced to digital fabrication: laser cutting To analyze and develop a three dimensional installation whose method of fabrication is limited to two dimensional material sources such as sheets of paper To be exercise creative thinking by informality and irregularity in designing

2.2 TEACHING APPENDIX ii. Course Taught

Project Briefs Project / BODY AND SPACE Description

Create a swatch book with series of motifs (drawings, sketches etc.) that would be applied towards idea of “Body” and/or “Space”. Idea of Body refers to 2D decorative motif for fashion, textiles, urban wall graphic; etc Idea of Space refers to a motif building structured surface transforming architectural space. Both of these ideas are interlinked.

Student can either work with 2d Body idea or 3d pattern as final output.

In Conjunction with Body and Space individual themes to be developed * and methodology.

Select the best out of your motifs, digitally pre-visualize and present as a concept to develop into Final Project * Plant World, Animal World, Spirit World, Creation & Cosmos (Growth /Decay, Five Elements, Weather Series), Human World (Urban /Geometric (De)Construction)

Outcome

1) One Final Pattern Design applied for Body or Space 2) Swatch Book - Series of MOTIFS minimum A5 size (include all of the roughs like drawings, sketches)

2.2 TEACHING APPENDIX ii. Course Taught

Project / Supernatural Feast

(Students’ Works)

Ferreum / Ferroux Afiq Omar Medium: Motion Film Duration: 1.47 min “I combined exotic ferrofluid along with metallic objects around the house to craft various footage that demonstrate the properties of ferromagnetism.”

Experimental film “Ferroux”, (https://vimeo.com/38850535) works of 2nd Year student Afiq Omar would be displayed In Times Square New York by CEMUSA, Digital Video network in New York City, leading international outdoor advertising company.

The CEMUSA Digital Video network consists of 8 newsstands in and around Times Square featuring large-scale, high-bright 70 inch LCDs. Estimate is that it will be seen by up to 1.5 million passerby per day.

The works started as simple project within my elective class Titled: Vis 290 class Pattern Art Design and Architecture.

Please see the bellow email sent to Corporate Communication for a bit of publicity for Art. http://thecreatorsproject.com/ blog/iferiennei-creating-beguilingmotion-graphics-using-ferrofluids

2.2 TEACHING APPENDIX ii. Course Taught

Project / Supernatural Feast

Hong Yu Ran Medium: Motion Film Duration: 2.02 min “The Supernatural Feast is a story of how an artist starts to loose his sight. Every time he closes his eyes, he knows that it might be the last time he would be able to see. As his eyesight starts each day, he sees these abstract patterns in his darkness. Were they visions from god? Or were they memories? His mind’s way of subconsciously reminding him of who he was and who he’ll never be.”

(Students’ Works)

2.2 TEACHING APPENDIX ii. Course Taught

Project / Skins

(Students’ Works)

IMPRINTS Illiyana Mohd / Hazri Sapuan / Ridwan Madon / Benjamin Sim Medium: Paper Dimensions: 4 panels, each 2.6 m x 0.46m “IMPRINTS is a collective study of the naturally occurring patterns that exist on the human form. Each unique pattern was digitally combined and formed into a seamless planar design via lasercutting technique.”

2.2 TEACHING APPENDIX ii. Course Taught

Project / Skins

(Students’ Works)

FOSSUS Aaron Lim / Afiq Omar / Foong Wai Harng / Hong Yu Ran / Ng Zhen Hui Medium: Wood, Acrylic, Sand Dimensions: 3m x 0.7m “Uncovered and unearthed, life, art and the physical world gets consumed back into the earth. The word Fossus is Latin for fossils, derived from the Latin word Fodere; to dig up. This installation explores the abstraction of the Biyak motif, a monitor lizard common to the indigenous tribe, Orang Iban in Sabah and Sarawak. It is believed to mystically empower the user with magical abilities assciated with the creature. The Biyak motif is incorporated into their daily lives; the Biyak motif is used to decorate weapons, shields and fabric. The combination of sand and wood creates the illusion of an urban architectural space, suspended in a prehistoric dimension. Its stories and secrets hidden and preserved forever.”

2.2 TEACHING APPENDIX ii. Course Taught

Project / Skins

(Students’ Works)

The Silkworm of Mulberry Tree Adzlynn Fizra / Lynette Tan / Serene Ng / Tracy Thng / Zhang Qiyin Medium: Diecut Paper and Strings Interactive Installation “At first, a simple kinetic sculpture with moveable parts was envisioned. Little by little, the sculpture seemed to form on its own. The base pattern was difficult to simply tessalate; originating from an appropriated organic shape. This somehow meant that we were dictated by how it carves out space on its own. Quite aptly, a nest-like creature seemed to grow from our attempts at making sense of the shape. To me, it felt like it already knew what it was meant to look like and we were curating it in space, like cultivating skin stretching over an already pre-existing structure. The final effect is enhanced by movement which suggests as though something is escaping from within, activated only by the presence of an audience.”

2.2 TEACHING APPENDIX ii. Course Taught

Body and Space

(Students’ Works)

Patterns of the Invisible World Quek Teng Wan Medium: Paper Installation “My love for the wonders of nature sparked the project theme: Patterns of the invisible world. It is through the inspiration from National Geographic and one of the BBC series, “Richard Hammond’s Invisible World” that made me look into what our human eyes cannot see; The microscopic world of nature. I took on a process of form making with paper through experimentations. The patterns created by nature are wonderful. Yet at the same time, with the process of cutting and drawing, new forms of patterns are created.”

2.2 TEACHING APPENDIX ii. Course Taught

Body and Space

(Students’ Works)

Origata & Furoshiki Xin Jie Medium: Paper “In Japan, it is said that giving a gift is like wrapping one’s heart.

Just as one helps a friend into a coat carefully and courteously, a gift should be wrapped tenderly and conscienctiously.

While the wrapping should, of course, protect the contents from breakage or damage, the same care should be taken with aspects normally thought of as merely decorative - those that reflect the sentiments of the giver - the paper and the way it is wrapped, the ribbon and the way it is tied.

The following series of pattern swatches is an integration of folding instruction within pattern design. Through the exploration of the process in wrapping, I hope to revive the forgotten ‘spirit’ and culture of wrapping within the giver.”

2.2 TEACHING APPENDIX ii. Course Taught

Body and Space

(Students’ Works)

LS3D Eddy Ibrahim / Shawn Lim / Kenneth Nah Medium: Projection Mapping Installation “LS3D is lines, shape and 3 Dimensional object. We explore the use of lines, shapes, 3D objects and color as an element for creation of patterns. Most of these patterns drew influences of optical art and the use of technology as a visual stimuli. This notion of visual stimuli is then shown by the final projection mapping show as a form of new cinema.”

2.2 TEACHING APPENDIX ii. Course Taught

Body and Space

(Students’ Works)

INTERACTION Pei Wen / Jane Medium: Swatches; Installation “INTERACTION is a project which explores the means of communication between two people living in today’s society. In Singapore, technology, being widely availble to most, allows for easier access to communication means besides physical contact...In a way, communication is without structure of rule; it crosses all disciplines and emcompasses all our senses. Yet at the same time this erratic behaviour can be broken down and captured to form some kind of sequence and hence be recorded in a pattern.

Our art work is in the form of an installation; recorded soundwaves being translated into sculptural forms, with different variables to represent our data. We created swatches from images that were derived during the process of our project.”