Portfolio-JieYi Xin

Future Sea Sacrifice Ceremony Digital Fashion Film In my hometown, people depend on the sea for their living and conduct an annual ritual to connect with the sea god for protection. Exploring the traditional dance "Big Yangko Haiyang" in this ritual, I've created a digital fashion film, revitalizing our cultural heritage. The film also explores the sea god symbolizing personal emotions in the future, offering viewers a more immersive cultural experience.

Individual project Contribution: Performance art, Digital Fashion, 3D Animation Tools: Clo3D, ZBrush, DAZ Studio, Substance Painter, Mixamo,Unreal Engine 5, Premiere Pro Video Link: https://youtu.be/fOG12rfZnkA 2023.04 -2023.08

Inspiration

Significance of the Ceremony

After the Qin Dynasty, as a form of communication between humans and gods, ritual ceremonies emerged. The traditional dance form known as 'Big Yangko Haiyang,' performed by seven individuals by the seaside to portray folk stories, was originally aimed at ensuring the safe return of fishermen. With economic development, it has acquired social attributes.

In the future, could it evolve with new attributes? Can the belief in the sea god symbolize personal experiences and our inner world?

Agricultural Civilization

Social Structure Emotional Manifestation Symbolic Meaning of Sea Ritual

Praying for Peace Prosperity

Values and Beliefs

Past:A Psychological Refuge for Uncertainty about the Future Underlying Mechanisms of Social Phenomena

Present:Collective Memory as an Identity to Local Culture Future:Deeper Significance

Makeup and Styling References

Documentary Research

To understand dance through documentaries and locate the current positions of existing dance troupes for contact.

In traditional dance character makeup, colors like red, black, white, and green are commonly used to express passion, grandeur, beauty, and vitality. Each character's makeup is associated with their personality.

Field Research

Visit dance troupes to communicate with dancers and capture details of their performance costumes.

The costumes feature vibrant colors to enhance the atmospheric feel, with the predominant use of materials such as silk and organza. The craftsmanship focuses on edge wrapping and embroidery.

Styling Design Dance Dynamics Experiment

Drape the fabric over my body for the dance.

Pattern Transformation Experiment I learned from the healing artist Heather Hansen, who dances directly on a white canvas to create 2D shapes.

2D Shapes

The patterns on the fabric exude a totemic sense. I created them as for use in the final scene.

Workflow

Final line-up · Look 2 Cuihua

· Look 1 The conductor of the dance troupe

Characters

· Look 3 Vendor selling small goods

· PATTERN

Makeup

· Look 4 Ugly Woman

Poses

· OFFERINGS

Village girl buying small goods

· OFFERINGS

Elderly woman in the countryside

Cloths

· PATTERN

· Look 5 Silly Boy Mischievous and playful child

· PATTERN

Fabric Animation

· OFFERINGS

· OFFERINGS

· PATTERN

Materials

· OFFERINGS

· PATTERN

· Look 6 Xiaoman

· OFFERINGS

Countryside girl

· Look 7 Flower Drum

· OFFERINGS

Leading the way and setting the stage for the yangko dance

Scene Setup · PATTERN

Video Editing

Video Sequences

· PATTERN

Makeup Design I have conducted research on the traditional makeup looks for each character, extracted their distinctive features, and redesigned them by incorporating my own understanding. I will be using Substance Painter for the painting process.

Doctor Yue

Scene Design

Extracting elements from real-life sacrificial scenes, including drums, altars, flags, and boats, to construct an imagined future ritual at sea.

The setting envisions a reduced land presence with the ceremony taking place in the middle of the ocean.

Cuihua

Vendor

Xiaoman

Flower Drum

Ugly Woman

Silly Boy

Storyboard

Keyframe

Long Lens Shot

Zoom in

Close-up of Environment

Spin Shot

Zoom Out

Full Body Shot

Medium Close-up

Spin Shot

Point of View

Spin Shot

Spin Shot

Shoulder

Quick Cutting

Quick Cutting

Quick Cutting

Quick Cutting

Close-up of Environment

Crane Up

Zoom out

Long Lens Shot

LIFE GARdEN Virtual Reality Film In my imagination, death is not an endpoint but the beginning of a new journey, symbolizing the liberation of the soul from constraints, moving towards freedom. In the garden of life, the bodies of the departed transform into lanterns, lighting the path between life and death, guiding us towards the unknown afterlife.

Individual project Contribution: Photography, Digital modelling, Visual Poetry Tools: Cinema 4D, Octane Renderer, After Effects, Media Encoder Video Link:https://youtu.be/DqTJOKETXB4 2023.10 -2023.12

Soul-guiding Banner Research

Sea Burials

A type of ceremonial item in traditional Chinese religious culture, typically a slender cloth banner adorned with images or inscriptions of deities and ancestors, used to guide the souls of the deceased.

Celestial Realm

Sea burial typically involves preparing the ashes, selecting a boat, choosing a specific sea location, preparing for the ceremony, scattering the ashes, and holding a memorial service. Families choose a boat to carry the deceased's ashes to a designated sea area, accompanied by prayers and personal farewells. It's a poignant farewell, allowing the soul of the departed to merge with the vast ocean, becoming a part of nature.

Beliefs About Life and Death Journey

Hell

T-shaped painting on silk from Xin Zhui’s tomb

Within the realm of belief, after a person takes their last breath in this life, they find themselves at the intersection of the world of the living and the world of the dead—a point both severed and interconnected.

Photography Experiment

Totem Sketch and Modeling

I drew inspiration from the project 'Human vs Nature' by Polish photographer Agnieszka Lepka. I reimagined a series of photos capturing my body in the lens of my perception, interacting with the nature.

Skin VS Bark

Fingerprint VS Tree Rings

Finger Peak VS Mountain Peak

Blood vessels VS Tree branches

Eyelashes VS Grassland

Hair VS Willow Branches

After creating body totems based on the photography, the 2D hand-drawn illustrations are transformed into 3D models.

Poem Step into the Enchanted Garden of Life, where departed bodies transform into radiant lanterns, casting a celestial glow on the soul's journey to the next ethereal realm.

In the tapestry of my dreams, death is not the end but the dawn of a celestial odyssey. The soul, liberated from earthly confines, enters a realm of boundless freedom. In this earthly ballet, where humanity waltzes with nature, the intertwining of human forms and the natural world weaves intricate totems.

Metamorphosing into ethereal lanterns, they illuminate the path between life and death in the Garden of Life, guiding towards an ineffable afterlife.

Poem Flowing through the babbling pond, purifying the echoes of bygone lives, we stand on the precipice of a new pilgrimage.

In the embrace of sensory totems, the Tree of Life and wind chimes resonate with the pulsating vitality within the journey.

The leisurely promenade in the Enchanted Garden of Life elegantly draws to a close.

Please embark on your new life journey, akin to a symphony of celestial poetry unfolding.

Communication With The World Immersive spaces based on interactive digital wear Sometimes I feel that there is an untouchable membrane between me and the world, and I am always struggling with this membrane that separates me from the world, constantly breaking free from the constraints of this membrane and regaining my connection with the world.

Individual project Contribution:Peformance art, Digital modelling, Interaction design, Exhibition construction Tools: Clo3D, Nomad, Arduino, Touchdesigner Interactive digital wear Projector 5330mm×3000mm, Resistive Thin Film, Pressure Sensors, EVB module development board Video Link:https://youtu.be/8xOpswS7Hyo 2023.09-2023.11

Inspiration

Research

Sometimes I feel that there is an untouchable membrane between me and the world, and I am always struggling with this membrane that separates me from the world, and I am constantly breaking free from the constraints of this membrane, so as to regain my communication with the world.

In phenomenological terms, we might say that we shift back and forth across the bridge between the external realm of Körper/Leben and the internal one of Leib/Erleben. When it is functioning well, this experiential openness remains tacit and imperceptible, even as it pervades and sustains almost everything we do. But when we lose the link, as Jane seems to have lost it, the feeling of inhabiting reality itself also slips away. We get stuck in the I-as-object realm, and no longer have a sense of affecting and being affected by the world and others.

The state I was in when this film appeared.

Being a subject, "experiencing" something .

Erleben

Not having the same sense of time.

Feeling like you're not in your own body.

No memory of how you got to a place.

Feeling like a different person.

Husserl believed that the body has a dual aspect: it was both a physical, organic object in the world that could be perceived as such from the outside (Körper in German) – but the body was also lived and experienced from the inside, within an irreducible, first-person perspective (Leib).

Körper

‘I’ and ‘myself’ Leben

Leib

Tunnel vision.

The membrane

To survive or stay alive, as a merely organic creature.

Mind Map

Emotional numbness and withdrawal

Abstract membrane materialisatio Hearing another voice in my head。 Seeing past memories played back. It feels real.

Not feeling pain.

Feeling like your heart is beating hard and your head is heavy.

Membrane

functioning well

Deconstructed

Reconstructed

“Experiencing"-Pressure Sensors

lose the link

Morphological Extraction Experiments I chose three states the emergent state of this membrane and visualised it through performance art.

1.

Pattern Conversion

2.

3.

Cutting the replicated plastic film down to the limb and joint axis, I deconstructed it and digitised it in CLO3D.

Original Model Morphology Utilizing the film prototypes obtained from Morphological Extraction Experiments, the pattern pieces were directly cut and cleverly arranged on the model, resulting in some preliminary clothing prototypes.

Morphology of the Inverted Model According to the upper and lower/left and right/back and forth reverse,after interweaving,the membrane fragment itself concave and convex reversed,re-interweaving.

Film Escape Experiment I wrapped myself in a layer of plastic film, simulating the continuous struggle between me and the world. I pulled and stretched the film until it shattered, allowing me to break free and reconnect with the world. Before my escape, I confronted and was isolated from the world by this layer of film. After breaking free from it, it was left behind. Such an inverted technique forms the basis for the subsequent development of the model.

Magnetic Experiment Whether I am connected to the world is not only influenced by my own driving force but also affected by external factors. I chose magnetic powder and a magnet, separated by an acrylic sheet. In Experiment 1, under three different states, the magnet moves along the curve of the object, and the magnetic powder presents an image. These images are very similar to membrane stretching.

Interactive Clothing Development

Pressure Sensor Experiment

Technical Process

Import the model Render material & environment colors

No pressure prototype Pressure value:0

Continuous pressing on the particle growth Pressure value:4000

Creating a particle dissipation animation by dynamically changing particle data based on pressure values. By overlaying animations, it enriches the growth hierarchy and visualizes the dynamic motion within the domain.

Depending on the data of pressing, the clothing animation undergoes real-time changes.

Exhibition

BEACH COMB Physical & AR fashion design I grew up in a small fishing village in northern China, right by a sandy beach. As a child, I enjoyed going to the seashore by myself during low tide to hunt for treasures, deeply appreciating the beauty of nature.

Through a visual story, I blend these memories with nature, using symbols like sea creatures to create tangible garments that evoke sensory experiences. Using augmented reality technology, I showcase these garments in a virtual environment, narrating my emotional story through both the natural and virtual settings.

Individual project Contribution: Concept, digital modelling, 3D printing Tools: Nomad, Clo3D, RealityComposer 2022.07-2022.11

Inspiration Board The original secluded fishing village made my childhood's most frequently played game clamoring for treasures during low tide, searching for the treasures left behind by the vast sea. In my memories, the beach was clean, expansive, and soft, and the childhood moments by the sea brought healing emotions. However, with urban expansion and an increase in tourists, this side of the childhood beach has been invaded, and I have almost lost this game, finding it challenging to relive the joy of childhood treasure hunting on the shore. I categorize this experience into soft and hard aspects, each representing different meanings.

Material Research "Treasure" on the beach

Complete

In the soft sea, memories gently heal, like water warmly wrapping around me, bringing peace. It listens to my heart, turning pain into calmness. In this gentle sea, my soul finds relief, feeling time quietly healing.

Splinter

Sand

My favorite part of the sea is collecting shells of all shapes and colors, both complete and polished over time.

Mussel

Ostreidae

Growth Environment Ostreidae fixed by the shell sticking to other objects Found in both intertidal and subtidal zones, this species thrives where water depth stays below 10 meters, demonstrating remarkable resilience and flourishing characteristics in these habitats.

Gelidium amansii a perennial seaweed

Standing before the hard rocks, I sense the challenges and difficulties of life, urging us to bravely overcome and confront them. It is an indispensable symbol of growth and perseverance in life.

Flourishing amidst rocky reefs below the dry tidal line of offshore islands, this species exhibits robust growth in a unique marine habitat.

Biological Materials Experiment

·Biological Fabric 2 _hard

·Biological Fabric 1 _soft Experiment on different substrates.

Organza

Wire Mesh

Denim

Suede

Materials Sample Water

Vinegar

Glyerol

Com Starch

Splinter

Sand

Gelidium amansii

·Sample 1_soft Bio-gelatin Skin Garment

Pour the materials into the pot in proportion and heat them, stirring continuously during the heating process.

Bring to a boil and let it bubble, then continue to cook for about ten minutes before quickly guiding them into the placed plate.

The same method is used to mix the medium.

Applicability test Adsorbability

Adsorbability

Adsorbability

Glossiness

Glossiness

Glossiness

Toughness

Toughness

Toughness

·Sample 2_hard Bio-sculpture Denim

Design Development

Sketche On the beach where we clamor for treasures during low tide, many fishermen cast their nets. I captured the fleeting forms of these nets.

I went back to the beach and recorded a video of myself-a beach combers.I extracted my body posture.l want to keep those times alive.

Sketche

Silhouette Development

Modeling Effect ·LOOK 1

·LOOK 3

·LOOK 4

·LOOK 5

·LOOK 6

·LOOK 2

AR Interactive Wear Experience

After creating the digital fashion, I use the AR software Reality Composer to achieve interactivity.

Physical Clothing Production After 3D printing the model, assemble it and attach biological fabric onto it.