First we have a selection of curves represented in this form (similar to the example in this post).
Cellist Arm - Taken from Part 2 - Dies Irae
Conductor Arm - Taken from Part 2 - Dies Irae
Conductor Gyro - Taken from Part 2 - Dies Irae
Cellist Arm - Taken from Part 7 - Libera Me
Conductor Arm - Taken from Part 7 - Libera Me
Conductor Gyro - Taken from Part 7 - Libera Me
The left versions are taken from the outer most shapes, while the ones on the right are from the inner (intersecting) shapes. As some of the intersecting shapes were to small to use, I decided to filter out the smallest shapes by setting a minimum size to be generated from the curves.
Now here is something a bit different. I have taken a selection of shapes (that I created earlier - refer to this post) and represented them in grid like structures.
Conductor Gyro - Taken from Part 1 - Requiem
Conductor Gyro - Taken from Part 2 - Dies Irae
Cellist Arm - Taken from Part 3 - Offertorio
Conductor Arm - Taken from Part 4 - Sanctusi
Cellist Arm - Taken from Part 5 - Agnus Dei
Cellist Arm - Taken from Part 6 - Lux Aterna
Conductor Gyro - Taken from Part 7 - Libera Me
By themselves, they are perhaps not as expressive or fully representative of Verdi's Requiem, but the techniques could be applied to better effect if combined as part of a more elaborate sculpture. Maya's boolean tools were used to cut the shapes up, although it took quite a bit of fiddling to get a consistent result as the boolean tools can be somewhat temperamental.
Turnarounds to come later on.
Ethan Shilling
Ethan!!! Thanks so much for doing these :D Suddenly we've got something that begins to feel a) make-able and b) 'musical' in the sense that they seem to convey something kinetic too. Another request then before I take some of these ideas to our friend the sheet metal fabricator... could you 1) create a 'contact sheet' unpacking all the separate flat shapes that comprise the Dies Irae Conductor Gyro form - this is so the fabricator can understand the method initially: 2) create a kind of 'exploded view' of the separate shapes as an animation - so that we see the separate pieces 'forming' along their axis to create the final piece as it stands - so again the fabricator can get a sense of everything 'slotting together' (I just don't want him to be confused at all about what we're seeking to accomplish and how we think it could be put together). In addition to the turnaround, I think this would be a great starting point for budgets and do-ability and time-frames for manufacture.
ReplyDeleteAgain, Ethan - some great work here - lovely stuff - thanks very much! In terms of the 'grid' objects - you're right - I absolutely love them as objects, but they do seem like chunks of something more interesting yet to be determined. I'll tell you something though, Ethan - this use of music to create objects has clear commercial applications - furniture design, jewellery design.... !!!