Wk2: Shape of things to come... (Work in Progress UT04 models)

My Unreal editor works for this week are incomplete so here is what i've done so far along with the parallel projection on which it's based... check back in a few days!

Running to class now...

edit: These are printscreens since at the time no player start point had been added yet, so entering the map and imaging via fraps was not a valid option at the time.

Intersected Parallel Projections

Here is the snazzy, updated, rendered, complete collection of parallel projections of two combined forms; freshly squeezed together for your viewing pleasure ;)

And yes, they're proper axonometrics this time.

Unreal Editor attempt

A week of illness will show just exactly how difficult it is to catch up on prescribed work, but I'm happy to say I've more or less managed. Shown above are my 2 screenshots of the level i created in Unreal Editor, as well as the image of the axonometric form (inspired by Goodall's quote about an individual's impact on the world) on which it is based.

9 Axonometrics based on Jane Goodall's quote

I understand that these technically are not axonometrics, and not quite isometrics, but due to time constraints they're being submitted as is. Despite this, I hope these parallel projectionss are still able to effectively and accurately communicate my forms.

9 Axonometrics based on Stephen Hawking's quote

Experiment 2, Week 1: Quotations

We are just an advanced breed of monkeys on a minor planet of a very average star. But we can understand the Universe. That makes us something very special.

Stephen Hawking, in Der Spiegel, 1989

You ask me why I do not write something.... I think one's feelings waste themselves in words, they ought to all be distilled into actions and into actions which bring results.

Florence Nightingale, in Florence Nightingale: 1820-1910. A biography by Cecil Woodham-Smith, 1996

People just feel helpless, “what can I do, i'm just one person?”, and I think the most important message is to try and help everybody understand that every single day we make an impact on the world. You actually cant live through a day without making an impact on the world.

Jane Goodall, in a Q30 Exclusive Interview from the Albert Schweitzer Institute, 29 October, 2005

SUBMITTED!

Ah, the final step of an assignment is always satisfying, signifying the relief of completion and the commencing of much needed sleep. Shown above is the uploading of my sketchup model to the Google 3D Warehouse, the last instruction on the independant study of week 4. The model can be accessed from this link:

http://sketchup.google.com/3dwarehouse/details?mid=8df58785c33ca09dcfcce3c5ac332a06&prevstart=0

3 Animations

Storyboards for Animations

Animation 1
Animation 2
Animation 3

A brief paragraph on the artists' material practice.

Sir Sidney Nolan and Patricia Piccinini are both distinctive artists, each with a highly developed and specific choice of medium. Whilst I've opted for other works of theirs to insert into my 3D model, the degree of individuality that Nolan and Piccinini have honed means the studio spaces are still more than appropriate for them to work in; afterall, the studio spaces are for the creation of all their works rather than just those selected 3 weeks ago, correct? Nolan's paintings, both Burning Tree (with Ned Kelly) and Ned Kelly 1946, are painted with enamel on composition board. Protein Lattice specifically is a digitally manipulated photograph, although Piccinini often sculpts or paints, it is important she has access to an uncluttered underground studio.

Second Section developed with Textures

As required, here are a few screenshots of my second section, this time with the textures 'Toxic', 'Porous' and 'Crackly' applied to certain surfaces.

Second Section Model (finally!)

With the realization that i needed a second section altogether to apply textures to, rather than just the stairs, i've modelled the second section entirity. To be noted is that the large amounts of smoothing needed to form the organic shapes generated copious amounts of strain on my RAM. In order to prevent lag induced sanity loss, i decided the root like structures below the below-ground space would have to be expended.

Ps. my mouse died upon my last attempt at uploading last night, hence the last minute posting

Texture/materials Drawings

Above

On

Below

Materials and Textures

These are 36 words that we thought of in tutorials to describe materials, classed into 3 catergories of Above, Below or On groundlevel.

Below: On: Above:

Miniscule Scaley Prickly
Jagged Glossy Cellular
Checkered Segmented Furry
Crystalline Centralised Motion
Rocky Corrugated Fiberous
Gritty Moist Daunting
Malleable Fragmented Twisted
Poisonous Opaque Porous
Fluid Dry Glowing
Toxic Brittle Fiery
Rapid Abrasive Reflective
Grainy Crackly Fierce

Sketchup Models of Stairs

Here are Sketchup Models of the aformentioned stairs.

These are stairs to link the above and below spaces with the ground level exhibition space for the Australian-Evolution building.

The below stairs are formed from domed cylinders with flat tops. The elongated domes suggest the lower space are of an organic nature, emerging from the depths of the earth and time emphasized by the granite material. The flat top allows for the user to actually step on them, whilst the sandstone paving visually links the below ground to the above ground which is described as Australian.

The Upper stairs are large blocks of sandstone, a classic Australian signature, in alternating steps of glass disks, which symbolise the scientific ground on which evolution is based. The circular disks are arranged in helix formation to further suggest this point. Despite the physical improbability of this being constructed, these stairs provide a link between the Australian and Evolution levels of the building.

A second section to study, a second set of stairs

Here I have the second section i intend to study. The transition between the adjective Australian, and the noun Evolution. I've designed two more sets of stairs linking studio spaces to exhibition spaces. To provide a brief explaination of the section, the above ground area is formed by a hard, geometrical casing surrounding a smoother, more organic interior. This points to the tough Australian male or the very nature of the country. Seemingly hard durable on the exterior but nevertheless laid-back and jocular at heart, or an ugly, inhospitable landscape which houses such easy-going individuals. The below-ground is formed of organic shapes not dissimilar to roots of a tree, suggesting both the continuous evidence of life that is found as one digs deeper, as well as a diversification that accompanies evolution.