- vr painting
I decided to Instagram message Manards, a fictional designer combining his background in graffiti, classical fine arts, and graphic design in his unique portfolio. I came across his work on Behance and was instantly mesmerised. I couldn’t find a lot of information about his processes and his workflow so decided to message him on instagram. He provided me a lot of useful information and I will continue to use this research to delve into the world of messy interface further. The main link between his work and our brief is that he creates his futuristic three dimensional design from a reconfiguration he creates of famous “grandmaster” paintings in the idea of them centuries ago actually being exposed to computer softwares and programmes. This is a real life example of juxtapositioning analogue and digital works. The original painting therefore being analogue and Manards design being digital. A messy interface.
To the right is a colour palette I have created colour dropping colours from of his pieces and editing them on nomad sculpt.
text
Understanding human perception by human-made illusions
- published : online July 2014
These are just some screenshots of the research I conducted involving the metaverse and AI technologies and there relevance within the uncanny valley terminology. I wanted there to be an overall theme of my exhibiton discussing the importance of reconstruction and recycling older buildings to make them have a life again. But I also wanted another layer to the story, and to start the discussion of what future up in coming technologies could impact human perception and the buildings themselves. Would buildings like this one be left to rot as its only use would be an environment to place your VR headset on? Will they go through another cycle of regeneration?
ready player one
The orphaned teenage protagonist, Wade Watts played by Tye Sheridan, dreams of winning a virtual reality gaming contest so he can leave his container home.
The Stacks are a type of refugee shanty villages that were constructed on the outskirts of most major cities during the rise of the global energy crisis.
The Stacks are named due to how the dozens of trailers and similar mobile living quarters that make up the spaces are stacked on top of one another in "stacks", held together by metal beams, pipes and makeshift girders. They were created to save space, labor, and resources. This cheap construction caused the over crowded homes to become a breeding ground for theft, murder, molestation and other heinous activities.
" these days reality is a bummer, everyone is looking for ways to escape. Halloday showed us that we could go somewhere, without going anywhere at all."
A lot of 3D programme special effects- obviously much much more
advanced than mine - but `a good link
liminal space
I was very inspired by the pastel bizarre toned colour
palette of liminal spaces. The easier route would be to develop the 3D rooms with darker ambient occlusion and no global illumination, to give the renders a darker low lit appearance as this is a common characteristic of a liminal spoace. But others include photos like the ones on the right, bizarre garish colours of blue, green etc.. These are even more freaky and eerie to me personally, as they are meant to be environements that are joyful, playful and inviting but they are not. Especially with no people. I recreated this within my colour palette and lighting chosen, but also I used mirrors on the walls of my mill floorpan to confuse the viewer and provide an almost optical illusion to the renders, you don't know what wall is real and fake.
below - the back and right wall are mirrored and the left and out of view wall have the graffiti material
Liminal space trigger feelings that are created when a particular design of a room is interacted with outside of its intended context. When environments have one feeling associated with them, and then when photographed with no people, poor lighting/ artificial lighting, no way of exit, can be transitional spaces between point A to B( like the corridor in the middle of the mill that you will see in my final renders ) become a space that is completely different with different feelings attached. Think of a shopping centre, when these are busy with people they feel like what you would normally expect form an environment like this, but when translated in a liminal space style they feel like and altered reality. This is why I have not included any humans in my renders, and showcases how a industrial mill environment can transform. Plus when you think of music event spaces as a whole they feel very different when there empty and barren compared to when they are filled with people.
artist influence
Leimai_ lemaow
artist
"In honour of 420 myself and the @turboravelords have teamed up with @lucski23 to create Garyland, Chromehenge and Gary's farm are now an NFT at a fixed pric on rarible"
The second I saw this artwork I was immediately transfixed. The fantasy feel to it, and transformative nature of it. Using a natural looking forest environment but places objects and characters in there that you usually wouldn't associate with a forest setting. This is what gave me the idea to create a three dimensional floor plan of the mill and have objects in the rooms that you wouldn't usually associate within the space but links to my brief. For example the industrial crane and conveyor belt
I think bizarre, fantastical, liminal spaces can be created to the best quality on softwares like cinema 4d. As I mentioned earlier I couldn't create the floorplan of the mill I originally pictured in the VR software as accurately as 3D
other 3D designers I get inspired by, and
inspired this project
other artists
Floorplan
I drew a floorpan of the mill to reference my 3D sculpt of and also to use within the exhibition space
referencing drawing keys architects use
My final floorpan
I thought about having the floorpan as a sticker on the floor
in the exhibiton room 1 ( that is in a constructed box in the middle
of the main event room in the mill)
I then thought about having the floorplan as projections around the room crossing over each other etc.
Just having it on a wall
^ the font of the text on the walls in the exhibiton. I wanted a text that resembled the code used in the moving image to keep consistency.
having it as a slight joke
a floorplan- on the ceiling
- then the floorplan is also not obstructed by seats - added more seats in this one
could have the moving image projected on the ceiling as well to make it full more immersive - but the VR experience is meant to be the immersive element this room is meant to be the split screen comparing room - so the simpler the better
Final mockups
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virtual reality
I wanted to incorporate primary photos of the mill in my mockups. So I chose this part of the main space to mockup where the virtual reality experience could be held. I didn't want this experience to be in constructed cube in the building ( like the split screen room is ), I wanted the audience to walk around the building then place the headset on and and experience the same space in virtual reality
primary photo of the mill
used a mixture of spot healing, selection tool sets. on photoshop
final virtual reality room
exhibition room layout
I used the floorplan and corner pinned it to make it look more like a 3d map. Then placed the cube to represent the constructed screen space for room 1 and then the floorplan to direct people to room 2 where the virtual reality experience resides
text
right side of split screen -text
left side wall
in each element of the 3d environments I experimented with
many different materials including ones I created using my own primary imagery, one the walls, floors and objects.
I am happy I stuck with the graffiti on the outside as it
gives the grid and sense of community and human
experience I have focused on throughout my
development. Plus it is really interesting seeing your
own drawings onto a 3D material.
experimentation
screenshots
I kept putting two renders with lighting or different
object side by side on my computer homepage to
make decisions throughout the process
final digital
Adding the dynamic grass hair was a very long
process to get the animation and gravity of the objects
to interacts when they fell into it. But very much worth
the struggle for each room for the final renders.
I decided to choose the blue lighting primarily
throughout the renders due to the artificial lighting
it casted and gave the illusion I think more of
liminal spaces.
