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Abstracting 3D Lines


I have always asserted that sketching and physical model making are “pure� idea generators (They’re Intuitive). Digital modeling comes later, simply as a refinement tool that fixes and constrains. However, this generalization has long stunted my imagination for how digital mediums can be rich, creative, thinking tools. When I initially rendered a fictional world made of foam, I dove into the piece with the final image in mind. Instead of working in sequence, (Model, Texture, then Render) I reworked my process to imagine how to model a light line, or to carve a deep shadow. I began to confront how an idea exists in model space, and what could potentially be revealed in rendering.

How can drawing, modeling, and rendering coexist and should one hold authority over the other? The process of faking cuts and imperfections provoked a need to re-imagine how material properties can be incorporated into the digital modeling work flow rather than be applied to surfaces as an afterthought. The vocabulary of foam became a metaphorical device that triggered ways of modeling beyond drawing a line and extruding an infinitely smooth surface. Thinking materially, allowed me to do away with expectations, and immerse myself in an exploratory mode of digital drawing. 2

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Discrepancy between Rendered Image and Model

JULIE KRE SS

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Foam in Flux Rather than model a static line, I suggested paths and encouraged the particles to follow. The drawing is living, constantly renewing itself, with the potential to change in every stroke. 4

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The temporal nature of animation shifted my focus from modeling a representation of a thing, to framing a scenario for events to take place.

How do you construct a drawing for play? JULIE KRE SS

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After going through the effort of animating an image, why not use that data? Each point can be uniquely quantified according to the direction it’s moving, the distance it is from the camera, it’s age, it’s 6

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velocity. I’m not sure which is the final image, the render or the drawing...

Was the rendered foam a conceptual tool to get me to a drawing, or is the drawing just an artifact JULIE KRE SS

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Chunk-Scape Foam can be carved, compacted, and sanded. It breaks and crumbles. The dust collects on my clothes and sticks to my hair. I always find remnants of it days after. This is not a “realistic” simulation, but I acknowledge materiality 8

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when working digitally. Craft is something we embody and hone. It is knowledge that can still provoke a virtual creative process.

What if foam was weightless? Can I coax the dust into a line? Does it still look like foam? Feels like foam to me. JULIE KRE SS

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First I pushed some particles closer together until they looked dense and compact I nudged some out of the way to make a path. Then I swirled them, and everything seemed to fall into place. 10

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Suddenly the conversation shifts from representing textured masses to issues of sequence, direction, speed, strength, and reactions...

I was constantly delighted by the unexpected results born from cause and effect. JULIE KRE SS

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Residual Paths I extracted only a moment before the drawing stretched and dispersed into something intangible. The form records bodies passing through, then continues on its way bearing the scars of past encounters. Things we make age, I wonder if digital drawings should too. 12

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Behind the Scenes

Multiple systems of particles. Each function independently but still engage each other at discrete moments.

A single system of particles, acted on with forces. The results of each action ripples through the entire body of foam. 14

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Week 1 Actions of Production vs Manipulation Using a Physics Engine I began this inquiry by exploring various states of foam. (From Dust to homogeneous chunks) Do you simulate the manufacturing process of foam? (Expanded Foam) OR Exert external forces on Foam? 16

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Week 2 Subject and Process I was open to a spectrum of scene types and scales: foam as an object on a Table, foam as an abstract condition of varied homogeneous and porous states, and foam as an occupiable space. Foam spaces introduced considerations of depth and 18

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scale. How can simulations build on each other, and become a craft in itself? I tested hybrid processes such as subtracting out the void made by balloon pressure (see left), and incorporating JULIE KRE SS

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Week 3 collision objects + Animation What do you do when you can do anything twenty different ways? When are you cheating? Does it matter?

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Week 4

Armatures + Foamy Renders

I was often in conflict about two things. 1. The need to create invisible geometry to achieve certain shapes. Such armatures are not so different from creating a surface and applying a texture to it. 2. Rendering foam “particles� as blue spheres post simulation. They bear no signs of deformation or interaction with each other. 22

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Profile for Julie Kress

Abstracting 3d Lines  

Abstracting 3d Lines  

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