Difference between revisions of "User:Dionne"

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== '''ABOUT''' ==
  
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Dionne Wolff<br>
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Lifestyle & Design<br>
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English Stream<br>
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Minor Digital Craft '15 '16<br>
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0854018
  
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='''Fantastic Forgeries'''=
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[http://dionnewolff.strikingly.com www.dionnewolff.com]
  
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= Gherardo Starnina - Twee op de grond zittende, musicerende engelen =
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== '''STEALING FROM THE MUSEUM''' ==
  
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Instruments: Organ (orgel) & Harp
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[http://opensource.wdka.nl/wiki/Stealing_From_The_Museum/hiddentreasure Hidden Treasure]
  
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== '''FANTASTIC FORGERIES''' ==
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[[User:Dionne Process Fantastic Forgeries]]
  
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[[File:2557-(ok) large.jpg | 800px ]]
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Fantastic Forgeries presents alternate histories of Dutch material culture through the research and evaluation of existing artefacts – and their appropriation, transformation and remaking. Fantastic Forgeries uses historical crafted objects as a departure point to reflect on the status and practice of craft in our contemporary society. The objects will be used as tools to examine traditional ways of making as well as a formal, tactile, and decorative inspiration to compare when stretching the boundaries of (artisanal/digital) fabrication.
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In this quarter you will explore into the rich past of Dutch material culture though the Applied Arts and Design collection of the museum Boijmans van Beuningen, or pre-industrial collections of your choosing. You will choose an artefact that speaks to you through its form, function, and its surrounding folklore. You will experiment with various and scanning, modelling and production technologies in order to support the crafting of your own perfect copy of your chosen piece. The idea is to make your replica or 'fake' as convincing as possible by reproducing with detail, before breaking it open into a series of iterations that alter the form and content of the artefact. Can new rituals come about by removing the form out of its original context? Can more flamboyant objects arise by imagining and inventing the aristocrats that would use them?
  
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='''Information'''=
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'''Deliverables'''
  
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'''22/09:''' Het paneel maakte oorspronkelijk deel uit van een altaarstuk, een polyptiek ofwel veelluik.
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#A copy of your chosen (pre-industrial) artefact crafted from a different medium;
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De engelen bespelen instrumenten, links een klein orgel en rechts een harp. De omhoog
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#A well-fabricated contemporary transformations based on your chosen artefact;
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gerichte blik van de linkerengel is een aanduiding van de grotere compositie, waar zij ooit deel van waren.
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#A polished project wiki page;
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#A 1000 word statement defining where your specific 'craft' lies in relation newer technologies (Uploaded to the wiki);
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#An exhibition presentation, research visualisation, and oral presentation.
  
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Volgens Vasari was Gherardo di Jacopo Starnina één van de beroemdste en beste schilders van Florence.
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=== '''COPY''' ===
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Starnina was van 1395 tot 1406 werkzaam in Valencia. In de Spaanse havenstad had hij kennis gemaakt met de Internationale Stijl,
 
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die in 1393 door de Duitse schilder Marçal de Sas aldaar was geïntroduceerd.
 
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Na zijn terugkeer in Florence gaf Starnina met zijn kalligrafische lijnvoering en delicate expressiviteit een nieuwe impuls aan de Florentijnse schilderkunst.
 
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Hij bevrijdde haar van de levenloze formules die van Giotto's grootse stijl waren overgebleven.
 
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Zowel Lorenzo Monaco als Lorenzo Ghiberti werden gevormd door Starnina's stijl.
 
  
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Titel: Twee op de grond zittende, musicerende engelen
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[[User:Dionne Copy Fantastic Forgeries]]
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Schilder: Gherardo Starnina, Florence 1354/1360 - Florence 1409/1413
 
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Jaartal: 1400 - 1410
 
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Locatie: Dit object is te zien in zaal 03
 
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Objectsoort: schilderij
 
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Inventarisnummer: 2557 (OK)
 
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Afmetingen: 47,7 x 71,8 cm
 
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Materiaal en techniek: tempera op paneel
 
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Creditline: Verworven met de verzameling van / Acquired with the collection of: D.G. van Beuningen 1958
 
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Collectie: Oude Kunst
 
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Tentoonstellingen: De Collectie Verrijkt (2011)
 
  
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==Research in the Library==
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=== '''TRANSFORMATION''' ===
  
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='''Replica'''=
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[[User:Dionne Transformation Fantastic Forgeries]]
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==Pixellating the painting through digital mediums==
 
  
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'''22/09:''' The copy will become a digital version of this painting. Made in Illustrator in a certain drawing stye.
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=== '''WRITTEN ASSIGNMENT''' ===
  
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[[File:A139645a89ed0d53828f7249eb258bb0.jpg | 150px ]] [[File:B3e15545b4f8c842d215c37ec57a3a8b.jpg | 190px]]
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[[User:Dionne Written Assignment]]
  
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'''Update 23/09:''' This is a simple approach and needs development. I will use digital techniques to pin point all
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What is your craft<br>
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the different colors, but in the end it will become something tangible, not only digital
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What are the tools and media of your craft?<br>
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What are the borders of this practice? (what new media technologies have arisen / what is its future of the field)<br>
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Connect to a historical discourse and give concrete examples of contemporary practitioners<br>
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Define your position of your practice in relation to newer technologies<br>
  
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Through the use of photoshop I put different filters on top of the painting, to see which effect it has on the colors and recognition of the painting
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'''Deliverables'''
  
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[[File:Pixel-facet.jpg | 600px]]
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+/- 1000 words answering #5. Please use 1-4 to jump start your writing process.
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# What is your craft? (define your discipline, method or approach)
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# What are the tools and media of your craft?
 +
# What are the borders of this practice? (what new media technologies have arisen / what is its future of the field))
 +
# Connect to a historical discourse and give concrete examples of contemporary practitioners
 +
# Define your position of your practice in relation to newer technologies.
  
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'''Filter Pixel Facet'''
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== '''TOOLS OF THE TRADE''' ==
  
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[[File:Pixel-fragmentatie.jpg | 600px]]
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[[User:Dionne Process Tools of the Trade]]
  
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'''Filter Pixel Fragmentation'''
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Crafting one's tools - crafting one's signature<br>
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The notion of a ‘tool’ in contemporary artistic practice is much wider than a simple hand-held implement. Tools can move material as well as ideas. Tools can fabricate as well as disseminate. Knowing one’s tools (how they are defined, designed, and put in effect) not only gives one agency, but often becomes the crux of one’s artistic practice. This holds particularly true for digital craftsmen.
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The current range and access to new digital instruments--from dozens of desktop CNC technologies that can make almost anything to hundreds of sensors to measure can pretty much everything--have given rise to a new wave of artist-built machines. Moreover, recent critical practices that break away from the more commercial and industrial (affirmative) applications have brought a new spectrum of objects that instrumentalise design’s potential as a discursive tool. Whether milling-out matter or carving-out meaning, this project ask you to both envision and build new tools for you practice. In this quarter you will define, design, and put into effect a new tool or medium that will strive for two main aims: it will carry your traces and signature as maker, as well as apply/reflect on the technological possibilities of our time.
  
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[[File:Pixel-kleurhalftoon.jpg | 600px]]
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[[File:Dionne-Wolff-Digital-Craft-Research-Document.compressed.pdf]]
  
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'''Filter Pixel Kleur Halftoon'''
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== '''TOUCH SENSOR''' ==
  
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[[File:Pixel-mezzotint.jpg | 600px]]
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[[User:Dionne TOUCH SENSOR]]
  
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'''Filter Pixel Mezzotint'''
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== '''TOOLS & TECH''' ==
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[[User:Dionne Tools & Tech Page]]
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[[File:Pixel-mozaik.jpg | 600px]]
 
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'''Filter Mozaïk'''
 
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[[File:Pixel-pointileren.jpg | 600px]]
 
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'''Filter Pointilleren'''
 
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[[File:Ruis-mediaan.jpg | 600px]]
 
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'''Filter Ruis Mediaan'''
 
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[[File:Pixel-kristal.jpg | 600px]]
 
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'''Filter Pixel Kristal'''
 
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This last filter could be a tool for the digital replica version, maybe I can laser
 
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cut all  these triangles on a certain material and paint them in all the right colors.
 
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This filter made me think about this work:
 
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[[File:Colored-tablrunners-all-2.jpg | 200px]] [[File:Colored-tablrunners-all-3.jpg | 200px]] [[File:Colored-tablrunners-2.jpg | 200px]]
 
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'''Elisa Strozyk'''
 
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This colorful table runner is made out of wood.
 
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And I am really fascinated by the bright colors and
 
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I think I could use this as an inspiration source for this project.
 
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'''Elisa''' experimented with different kinds of wood and after
 
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laser cutting the triangles, she'll stick every piece by hand on the fabric.
 
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With the use of the '''Kristal filter''' on the painting, I can pin point each color and put it in a list
 
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In Illustrator I can select every color with the 'pipet' tool, this would only take me forever..
 
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[[File:Color selection.png | 500px]]
 
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'''Pipet Tool'''
 
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I can also choose to redo the Kristal filter and set the percentage higher, this is the outcome:
 
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[[File:Pixel-kristal-15.jpg | 600px]]
 
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'''Filter Kristal 15%'''
 
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[[File:Pixel-kristal-20.jpg | 600px]]
 
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'''Filter Kristal 20%'''
 
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The 20% would be better for me to pin point down the colors. And if I can make this on a big scale, then it doesn't matter that you can't recognize the painting from a close distance, once you step further away your eyes will adapt and you will see all the pixels blend together until you do recognize the painting again.
 
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If you take a closer look at '''Elisa's work''', you see that all the triangles have the same size and are positioned in the same way. But the '''Kristal filter''' gives shapes of different sizes and different positions, I quite like this irregularity, so I might try this instead of the same measurements.
 
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[[File:Colored-tablrunners-1.jpg | 300px]]
 
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'''Update 01/10:''' First I want to analyze the work of Gherardo Starnina step by step, so that I understand what he has made.
 
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In Illustrator I selected most of the colors out of the painting. The paining exists out of a lot of colors, I narrowed them down
 
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by making triangles and filled them with the right color.
 
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[[File:Triangle painting 1.png | 400px]]    [[File:Triangle painting 2.png | 390px]]
 
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[[File:Triangle painting 3.png | 400px]]    [[File:Triangle painting4.png | 332px]]
 
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The end result looks interesting, the angles aren't really recognizable even from a distance:
 
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[[File:Triangle-Pattern-Painting-Fill.jpg | 800px]]
 
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I want to categorize the colors and make five different color schemes: original, lighter, darker, brighter & softer.
 
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===Trangulation of the painting===
 
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I tried to transform the painting in to triangles, but not from the same size. Where there is more detail the triangles will look smaller, when there is less detail they will look bigger. For the replica I want to focus only on the left angle, because of the story that his head is up as a sign that this painting was part of a bigger altar piece.
 
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Because the colors and different fabrics in the painting striked me the most, I want to fill some (or each) triangle with the fabric of the painting.
 
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I went out looking for the same fabrics, textures or colors.
 
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====Making the angle a 3D object====
 
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The triangulation of the angle looks very 3 dimensional, although my outcome is flat wood lasercut. After feedback I came to the conclusion to make a shot at Blender.
 
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Unfortunately deadline is almost there and it's the first time for me in Blender, so even with tutorial I found it difficult. So I'll make the object three dimensional myself.
 
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The lasercut frame of the angle, I will use again, but this time as a base. Each point on the triangulation must have a different height when making it 3D. So I experimented with wooden sticks, after that I shaped chicken gaze over it so it becomes three dimensional. Unfortunately I only have a front view of the angle, so there is no back. (If I had more time I would make a backside). After the chicken gaze I stick paper to it with glue, and after it's dry, I form clay on top of it, to make it a solid object.
 
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I want the sculpture to look different then most of the sculptures. I would like a bit of texture in it. That's why I added the clay in small pieces, without making it a smooth surface.
 
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='''Transformation'''=
 
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'''22/09:''' Interesting parts of the paining are: the fabric details and the expression of all the different fabrics, the colors & gradients and the activities of the angles.
 
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The angles are making music and this element may come back in the end result.
 
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Transform the angles into textile objects/sculptures with a specific shape.
 
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Characteristics are texture, textile, color, shape and sound. Experiment with fabric manipulations.
 
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With the use of sensors the textile will move and play a sound when someone touches it in a certain way.
 
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One will represent the organ (orgel) and the other the harp.
 
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The objects will have organic shapes and move on the rhythm of the sounds, so it all looks quite natural but strange at the same time.
 
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They will be made of different textile techniques, knit, weave etc. Some by hand some by machine.
 
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[[File:C483a9b30a54ccf090cbbc5b7b0e0030.jpg | 180px]] [[File:6283bdc8a38321eee2cd1555dc1539b5.jpg | 230px]] [[File:43c801b8a759a21d0848ca19c37e29b1.jpg | 200px]]
 
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''' rENs & Desso | Angelika Arendt | Ferne Jacobs'''
 

Latest revision as of 21:19, 3 February 2016

ABOUT

Dionne Wolff
Lifestyle & Design
English Stream
Minor Digital Craft '15 '16
0854018

www.dionnewolff.com

STEALING FROM THE MUSEUM

Hidden Treasure

FANTASTIC FORGERIES

User:Dionne Process Fantastic Forgeries

Fantastic Forgeries presents alternate histories of Dutch material culture through the research and evaluation of existing artefacts – and their appropriation, transformation and remaking. Fantastic Forgeries uses historical crafted objects as a departure point to reflect on the status and practice of craft in our contemporary society. The objects will be used as tools to examine traditional ways of making as well as a formal, tactile, and decorative inspiration to compare when stretching the boundaries of (artisanal/digital) fabrication. In this quarter you will explore into the rich past of Dutch material culture though the Applied Arts and Design collection of the museum Boijmans van Beuningen, or pre-industrial collections of your choosing. You will choose an artefact that speaks to you through its form, function, and its surrounding folklore. You will experiment with various and scanning, modelling and production technologies in order to support the crafting of your own perfect copy of your chosen piece. The idea is to make your replica or 'fake' as convincing as possible by reproducing with detail, before breaking it open into a series of iterations that alter the form and content of the artefact. Can new rituals come about by removing the form out of its original context? Can more flamboyant objects arise by imagining and inventing the aristocrats that would use them?

Deliverables

  1. A copy of your chosen (pre-industrial) artefact crafted from a different medium;
  2. A well-fabricated contemporary transformations based on your chosen artefact;
  3. A polished project wiki page;
  4. A 1000 word statement defining where your specific 'craft' lies in relation newer technologies (Uploaded to the wiki);
  5. An exhibition presentation, research visualisation, and oral presentation.

COPY

User:Dionne Copy Fantastic Forgeries

TRANSFORMATION

User:Dionne Transformation Fantastic Forgeries

WRITTEN ASSIGNMENT

User:Dionne Written Assignment

What is your craft
What are the tools and media of your craft?
What are the borders of this practice? (what new media technologies have arisen / what is its future of the field)
Connect to a historical discourse and give concrete examples of contemporary practitioners
Define your position of your practice in relation to newer technologies

Deliverables

+/- 1000 words answering #5. Please use 1-4 to jump start your writing process.

  1. What is your craft? (define your discipline, method or approach)
  2. What are the tools and media of your craft?
  3. What are the borders of this practice? (what new media technologies have arisen / what is its future of the field))
  4. Connect to a historical discourse and give concrete examples of contemporary practitioners
  5. Define your position of your practice in relation to newer technologies.

TOOLS OF THE TRADE

User:Dionne Process Tools of the Trade

Crafting one's tools - crafting one's signature
The notion of a ‘tool’ in contemporary artistic practice is much wider than a simple hand-held implement. Tools can move material as well as ideas. Tools can fabricate as well as disseminate. Knowing one’s tools (how they are defined, designed, and put in effect) not only gives one agency, but often becomes the crux of one’s artistic practice. This holds particularly true for digital craftsmen. The current range and access to new digital instruments--from dozens of desktop CNC technologies that can make almost anything to hundreds of sensors to measure can pretty much everything--have given rise to a new wave of artist-built machines. Moreover, recent critical practices that break away from the more commercial and industrial (affirmative) applications have brought a new spectrum of objects that instrumentalise design’s potential as a discursive tool. Whether milling-out matter or carving-out meaning, this project ask you to both envision and build new tools for you practice. In this quarter you will define, design, and put into effect a new tool or medium that will strive for two main aims: it will carry your traces and signature as maker, as well as apply/reflect on the technological possibilities of our time.

File:Dionne-Wolff-Digital-Craft-Research-Document.compressed.pdf

TOUCH SENSOR

User:Dionne TOUCH SENSOR

TOOLS & TECH

User:Dionne Tools & Tech Page
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