Space Constellations Part 1, Towards New pictorial space series

Proceedings of the URECA@NTU 2010-11

Space Constellations: Digital Fabrication Farhana Ja’afar School of Art, Design and Media

Asst Prof Ina Conradi Chavez Asst Prof Peer M. Sathikh School of Art, Design and Media

Abstract - How can one translate animation or computer rendered digital painting into physical space? A focus of this project was on examining new potentials for ornamentation using digital fabrication methods. Based on recently completed short experimental animated movie, the aim was to generate physical output mimicking animated dynamics and moving images. Out of existing renders and based on available means of physical production, introductory methodologies were delivered to translate abstract shapes from an animated sequence into simple building blocks for 2D and 3D print.

translating visuals into a 3D print/product. This involves the use of 3D software such as Autodesk Maya 2 and Rhinoceros3 Created 3d digital model is then printed out into a 3d physical product. The aim of the research project is to experiment with compositing and material. Compositing is done through editing existing renders into A0 size dimension print. Variable surface materials are being tested such as paper, inkjet silk and to poster paper. The second part of the exploration is test the translation of existing NextLimit RealFlow file into a 3d prototype for the art installation set up.

The research looked 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 were commercial and custom coated substrates and an assortment of special surfaces, such as metal, plastic films and laminates in a digital printmaking approach as well as large scale rendering, image editing and interactive digital pre-visualizations for art space installations.

This was a collaborative project where aim was to use tools common to animation, graphic design and product design.

3 LITERATURE REVIEW / BACKGROUND The existence of Digital Fabrication marks a new beginning for the design and construction industry.

Digital Fabrication is a technique that translates digital models to prints, a 3d output. This ensures more accuracy during the tests, enabling designers to produce the model that is seen on screen.

Machines such as rapid prototyping and laser cutter are some of the examples that are available for 3D printing.

Rapid Prototyping produces models by printing the digital models through thin resin layers horizontally.

The layers and then printed one after another, stacking on top of the previous layers which would result the 3d model to be formed. Unlike Rapid Prototyping, Laser cutting works differently. It does not print the model instead it uses the material input by the designer (whether be it metal, wood or acrylic) to be “sculpt” or “cut” the model. Laser cutting is a technology that uses the power of laser to burn the material. This material than melts and vaporises away, leaving behind the desired design on screen.

Keywords – nature, motion, 3D spaces, fluid in motion, momentary, fluid art, water sculpture, rapid prototyping.

1 INTRODUCTION Space Constellations: Digital Fabrication is an exploration of 3D space, pictorial image and digital prototype through art of animation. It evolved around the theme of a short animated film titled “Emotion Study”. The animated short is a series of abstract NextLimit Realflow 1 compositions based on painterly representation of five distinct emotions -- Gloom, Rage, Fear, Loneliness, Lust. This digital animation is translated to an experimental print through various processes, and methods in which will be describe further in details on later part of the paper.

These methods deem to save more time and production cost where designers are able to move to a larger room of exploration. Digital Fabrication goes beyond the traditional type of printing, allowing more complex and abstract designs to be propose and produce. Hence, tapping into the artist creativity to produce something out of the norm, an abstract art that are used in installation. [12]

2 AIMS / OBJECTIVES This research paper explores two parts of the study. The initial part is translating emotion depicting image into a 2D print. This is done through compositing images extracted from the animated short, while the second, is

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Autodesk® Maya® 3d computer graphic software is an integrated 3D modelling, animation, visual effects, and rendering solution. usa.autodesk.com 3

Rhinoceros® or shortly know for Rhino is a commercial 3D modelling software based on nurbs that is commonly used for industrial design, architecture and product design. Rhino.3d.com

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NextLimit® RealFlow® is a unique fluids and body dynamics software package for creation of flawlessly realistic simulations. realflow.com

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As explain earlier in the concept, this research paper aims to instil emotions in an abstract sculpture. The ever changing qualities and the instability of the shape should reinforce the feel of sculpture as transient, fragile and as light as possible. This idea is clearly gasped in Daisuke Hiraiwa sculpture – Skin of Spaces 02 (Fig 3) in IMM Cologne in 2009. [8] This massive floating sculpture is made up of 1400 disposable plastic knives, which are hand drilled. The lumpy Skin of Spaces 02 physicality bears a close resembles to clouds.

Light weighted, hanging over in space with lights shinning through the perforated details, resulting a chandelier effect as one view it from a distant. In relation to emotions, this sculptural piece emulates a mix of happiness, revenge and a forward-looking future. This is done through the use of good composition with a proper contrast of size, colour and balance. Similar to Federico Diaz’s Geometric Death Frequency-141, Skin of Spaces 02 also represent duplication of modular that slowly combine to form a an abstraction. This rendered also in Alyson Shotz sculptural works.

Figure 1: Coordination Berlin and diephotodesigner, Crystal City Mind, 2008, High-graded steel mirror finishing Abstract artists such as these German architects, Coordination Berlin and photographers diephotodesigner have produced a “multi-faceted design objects” called the Crystal City Mind (Fig. 1).

This large-scale design is made up of high-grade steel, which is mirror-polished on one side while matt black on the other. This ever-changing sculpture was an intelligent design as its sculpture reflects London landscape through time and space. Making it looks unique at every time and angle.

Figure 4a

Figure 4b

Figure 4a & b: Tara Donovan, Modular sculpture, Figure 2a

Not forgetting 5Tara Donovan, an American artist, which is well known for her site-specific installation.

[2] With simple basic modular of a plastic cup (Fig 4a), Tara multiplies and sticks them to form the sculpture traditionally with the use of hot glue. This differs from other artists, which works on 3d digital modelling software; instead, Tara achieved it through the use of accumulation of material. These materials are arranged in a manner that mimics the organisation of geological and biological. (Fig 4b)

Figure 2b

Figure 2a & b: Federico Diaz, Geometric Death Frequency-141, 2010, Public Art Sculpture Geometric Death Frequency-141 (Fig. 2a) is also another perfect example of computer-aided manufacturing methodologies. [6] This sculpture was created through 420,000 black spheres in which the robotic machines were used to ensemble and put together the pieces. This resulted a sculpture that renders a liquid splashing in a 20 by 50 foot invisible cube (Fig. 2b). Federico Diaz cleverly uses the idea of duplication and transformation of a modular that slowly grows, forming sculpture that is gigantic and abstract.

This process combines elements such as data analysis and computer programming.

The simple use of material accumulation expresses similar representation as those of Daisuke Hiraiwa’s Skin of Spaces 02, light and lumpy cloud-like floating sculpture. Balance yet loop sided portraying the brittleness and fragility, which is intriguing as nature itself.

This concept of modular highly inspires the methodological method in Space Constellations: Digital Fabrication.

4 METHODOLOGY The first part of the studies was using existing renders of A0 sizes prints to create abstract pattern with the aid of computer graphic software, Photoshop6. Vast used of effects were applied in the process, such as duplication

Figure 3: Daisuke Hiraiwa, Skin of Spaces 02 ,2009

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of layers, masking, rotation, reflection and Gaussian blur.

emotions (Fig 7). These digital models of the key poses were then being extracted out from a particular time or frame number.

4.1 2D PRINTING METHOD

Figure 7: Key frames shot from the animated sequences series. This key poses are extracted and edited.

Figure 5: Fluid Dynamic, Details of the original rendered image

Figure 6a

This is done through clearing the existing history and deleting the key frames that is not required in the scene.

This way, the animation is freeze to a momentary time that would not alter as a moving animated sequence anymore. These stilled digital models are then cleaned up. Splatters and excessive liquid in digital model are cleared. The process of choosing what to clear becomes obvious as further as we go. Object for rapid prototyping should be made out of one single digital model. Thus, mesh splatters that are disconnected are to be cleared so as to reduce the misreading of data for the final works.

Figure 6b

Figure 6a & b: Two edited files of the Fluid Dynamics, where the abstract images are duplicated from the main modular extracted from Fluid Dynamic in (Fig 5).

As the meshes are cleared and clean with no holes or any exposing edges that are not connected. The files are ready to be converted to still format, which is a format that Rhino/Rhinoceros recognises.

This can be seen in Fig 6a in which two primary modular patterns extracted from Fig 5, which is then digitally duplicated and transformed with just simple use of rotation.

Importing to Rhino is the most tedious process. This is because in conversion, naked edges became apparent to many thousands edges on the mesh. Making the digital model impossible to be solved unless to manual close the mesh. This made it impossible for the digital prototype to undergo rapid prototyping.

As emotions are often related to a tangible through time, digital prints that were formed were based on being inconsistent and fragile. These digital prints were meant to evoke a temporal moment of one’s emotion instability and flimsy. Hence, the material that was proposed, as a printed substrate was to be of similar ephemeral quality, the Japanese fibre paper which weights approximately 5 ~ 70gsm although the lightness and thinness of the material caused difficulties during printing. Uneven fibre edges interfered with the flat bad inkjet printer’s head, causing ink to smear.

Making the print look less defined and messy.

Hence, a new method was discovered in this process.

Reverting back to the after cleaned working file from Maya, this meshes are rendered digitally as full production quality image in grayscale jpeg.

4.2 3D PRINTING METHOD – RAPID PROTOYPING The second part of the study uses existing animated files to be translated into 3D print: Starting from the Maya files that have been converted from Realflow. I captured multiple series of the animated sequence. These are primary key poses of the emotion studies that was done a year back. A total of 5 key poses were being chosen to represent the series of

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5 RESULTS This section contains result of two parts.

5.1 DIGITAL FABRICATION OF A0 PRINTS Digital Prototypes: Print Time: Type: Colour: Colour

Relatively Fast (5min) Jpeg, 200dpi Based on Original Files

Physical Prototypes Materials: 1. Paper (80 gsm) Printed perfectly. Pattern and colours are well defined.

Prints are Portable 2. Japanese Paper (5 ~ 20gsm)

Figure 8: Rendered High Resolution of a key pose. This gray scaled key poses enables Rhino to read data information.

This natural paper is imported from Japan. However, ink bleeds at the edge during printing process. Pattern printed are not defined and clear. It appears smeary and dirty. This is due to the rough texture. However, prints are light and portable

These jpeg files were imported into Rhino as bitmap by using a command “MeshHeightField”. This commands informs Rhino that a bitmap image is being inserted is to be 3D etched. It reads and run them according to the input of mesh height and value input making them calculate the depths through the used of gray scale colour.

3. Poster Paper (170gsm Coated Paper) Print perfectly, thicker than paper, less fragile but works. Ink doesn’t bleed like Japanese paper. Pattern and colours are well defined. Prints are Portable.

As the 3D sculpture is formed, I created 5 more plane surfaces (Fig 9) for it to be airtight rapid prototype.

5.2 3D DIGITAL PRINTING Digital Prototype: Time: Relatively Slow (72 hours) Type: STL Model File & Jpeg, 200dpi Colour: Based on Material Used and Method

These surfaces are then join with the sculpture and ready for rapid prototyping.

Physical Prototypes Materials: 1. Aluminium This is still in process of proposal.

2. Wood Method: Time: rasterizing Colour: Cost:

Figure 9 shows the for sides of the edited model in Rhino. Where the plane that is etched out is given volumes by adding 5 more planes. Four on the sides of the etch and one at the bottom.

4.3 3D PRINTING METHOD – LASER CUTTING / RASTERIZING

Laser Printing Approx. 40 mins for Brown (Burn) Relatively Low

As laser cutting is a burning process, printing images on it is similar as printing a document in normal computer where you input the images and set the value. Hence, it is relatively easier and less time consuming

Similar to Rapid Prototyping with the rendered full production quality jpeg, images are being send in to the computer for rasterizing of wood

3. Silicon This is still in process of proposal.

Important note is to make sure that the wood is place at the corner of the machine. Values of the depth are also adjust accordingly so as it burns/etches in balance.

Method: Time:

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Rapid Prototyping Variable

Proceedings of the URECA@NTU 2010-11

Colour: Cost:

Light Beige Expensive

to the other, details and meaning are bound to lose during translation.

Unlike laser cutting, Rapid Prototyping requires a more tedious process; the conversion of files from Autodesk Maya to Rhino takes more time in comparison to just making a mesh in Rhino. Merging the naked edges also requires time and careful precision use of the software.

The cost of producing a relatively small object about 200mm by 200mm by 200mm would cost an amount up to a thousand or two.

Thus after much difficulties, the new method using “MeshHeightField” command in Rhino works. This ensures that the images are being replicated and copy for a jpeg. The model formed is also built from the surfaces and nurbs in Rhino. Therefore, there isn’t any naked edges, and making them airtight. The meshes formed in Rhino also contain more controls for the points to be moved and change.

4. Resin

In comparison to the first methodology, this method is simpler and easier. It also takes lesser time to produce digital prototypes.

Method: Time: Colour: Cost:

Rapid Prototyping Approx 30 hrs Light Blue or Beige Relatively High

In addition, material is also put to consideration.

Materials medium vary from Japanese paper, silicon, aluminium to wood were being tried out. Thickness and density of material played a vital role in the physical outcome of the product. The density of the digital files will reflect the final product. Methods like rapid prototyping require careful precision of an airtight digital model. These have influenced me very much in the final product form.

Similar to Silicon production, Resin also requires that a lot of time in printing the prototypes.

6 DISCUSSION From the result of the data obtained through weeks of research, it’s clear that 2D Digital Fabrication is easier and more convenient to print as compared to producing 3D Digital Fabrication. The result is mainly driven by: 1) Material, 2) Time to produce both digital and physical model, 3) Cost and 4) The accessibility of Method Printing.

As we are very much limited to the amount of technology and material available, cost of production became an issue in the research. Common methods printing outputs like the A0 prints are usually cheaper and less time consuming. This method is frequently used as compared to methods like laser cutting and rapid prototyping. As these methods are both risky and have incurs high cost production. However, the result is assured to have a better and more unique output than normal printing method.

The 3d printing uses two main methods: - 1) Laser cutting and 2) rapid prototyping.

Rapid prototyping, as the name have suggested is an automatic way of constructing physical product through the use of digital models. This is through machinery, manufacturing production-quality parts for relatively low number. This method is used for many reasons such as pre-visualisation model for actual product. Some artists use this advantage of small scale manufacturing of digital models as a way to produce complex sculptures/ shapes for exhibitions.

7 CONCLUSION With many ways of producing a 3D object, digital fabrication is a new medium for artist to explore abstract notions through lesser timing, more precision and complexity. All methods require printing from a digital model unlike those of traditional method where everything is done manually and in the hands of the creative. Precision may have been accurate for traditional printing unlike in the case of digital printing.

The precision of the print depend highly both on density and material. In the result, harder density materials have more precision than thinner or lighter material for 2D print. However, a precision varies in 3d printing. It highly depends on the digital models that are sculpted.

Rapid prototyping is achieved when a computer reads the digital models through thin, virtual, horizontal cross section layer. This requires specific use of software.

The available software that was largely used in School of Arts, Design & Media is Rhino.

Being well trained in Maya, learning Rhino took me two weeks to adapt to the tools and function.

Converting Maya models to Rhino are not simple either. Many naked edges were found after being converted into the Rhino format. The amount of naked edges does not allow rapid prototyping to occur as it affects the layers during the printing.

Printing is a form of art on its own. The printer is an abstract painter that paints the client art. This research has made me intrigued by the process need to get methods printed with the intensive use of software.

Software are not only used for purpose of everyday life objects but also an art on it’s own. By exploring the software limitations, we also explore the maximum capabilities of the software and the potential patterns that could be used and adapted in art, architecture and design.

Naked edges occur as conversion happens. As Maya models converts itself into a Rhino model. Translation happens and as translation happens additional and unmatched readings causes the naked edges. This is similar to the process of translation in language. No matter how faithfully one translate from one language

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This research continues through use of other possible materials such as silicon, aluminium and glass that are on my list of exploration in this research. These perhaps bring a new level to installation art. In which the printer and the material is the artist of the 3D/2D model.

[7] Glasner, Barbara, Petra Schmidt, and Ursula Schöndeling. Patterns 2: design, art and architecture. Basel: Birkhäuser, 2008. Print.

[8] Hiraiwa, Daisuke. "sojamo tumble - Skin of spaces 02 by Daisuke Hiraiwa. “This work...." sojamo tumble. N.p., n.d. Web. 26 June 2011. <http://sojamo.tumblr.com/post/124415221/skinof-spaces-02-by-daisuke-hiraiwa-this-work>.

ACKNOWLEDGEMENT I would like to extend my acknowledgement to the following: -

[9] Rosenthal, Mark. Understanding installation art from Duchamp to Holzer. Munich: Prestel, 2003.

Print.

Assistant Professor Ina Conradi Chavez, supervisor, a great mentor and a great guidance that help me in all ways and another.

[10] "sojamo tumble - digitalfabrication photostream “PhotoLog of work...." sojamo tumble. N.p., n.d.

Web. 26 June 2011. <http://sojamo.tumblr.com/post/64267457/digitalf abrication-photostream-photolog-of-work>.

Assistant Professor Peer M. Sakthikh, a great advisor and a material support in this project.

Patrick, Liew Quek Choi, the Workshop Executive, much thanks to all the notes and guides especially in using Rhino and workshop material.

[11] "sojamo tumble - unproductive: Alyson Shotz Allusion of Gravity,...." sojamo tumble. N.p., n.d.

Web. 26 June 2011. <http://sojamo.tumblr.com/post/713419996/unpro ductive-alyson-shotz-allusion-of>.

Nicholas Ong Thian Chai & Pow Ying Wen the awesome helpers that teach me Rhino along the way of through this research.

Not forgetting, Assistant Professor Jeffery Hong who assist me in using Rhino bitmaps.

[12] "sojamo tumble: Archive." sojamo tumble. N.p., n.d.

Web. 26 June 2011. <http://sojamo.tumblr.com/archive>.

We wish to acknowledge the funding support for this project from Nanyang Technological University under the Undergraduate Research Experience on Campus (URECA) programme.

REFERENCES [1]

" Sensitive Primitives, Reflections on the Brief at works-thoughts." works-thoughts. N.p., n.d. Web. 26 June 2011. <http://www.worksthoughts.com/?p=87>.

[2] "ACE GALLERY | Tara Donovan." ACE GALLERY. N.p., n.d. Web. 26 June 2011. <http://www.acegallery.net/artwork.php?pageNu m_ACE=11&totalRows_ACE=58&Artist=8>.

[3] Albin, Stephen T.. The art of software architecture design methods and techniques. Indianapolis, Ind.: Wiley, 2003. Print.

[4] "Archinect | Connecting Architects Since 1997."

Archinect | Connecting Architects Since 1997.

N.p., n.d.

Web. 26 June 2011. <http://www.archinect.com/> [5] "Flickr: digitalfabrication's Photostream."

Welcome to Flickr - Photo Sharing. N.p., n.d.

Web. 26 June 2011. <http://www.flickr.com/photos/digitalprototypingl ab>.

[6] "Giant Sculpture Is Made of 420,000 Balls."

Gizmodo, the Gadget Guide. N.p., n.d. Web. 26 June 2011. <http://gizmodo.com/5653013/giant-sculpture-made-of-420000-balls-by-robots>.

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