9. ANIMATION

9. ANIMATION

  1. Description:
    1. The interaction through animation of an abstract and undeciphered projection with a reality, an object, a shape, a space and everything in between. Motion, intensity and visual weight.
  2. Goal:
    1. Stacticityc breaker. A delightful experience of animated implications into bidimensional solid shapes of nothing.
  3. Instructions:
    1. Move the slider.
  4. Technical:
    1. PVC print.
    2. Paper print.
    3. 70x50cm frame.

8. COLLABORATION

8. COLLABORATION

  1. Description:
    1. A prediction of other creatures behaviour and the human control of it. Collaboration between the creator and the chosen irrationals with mutual benefits.
  2. Goal:
    1. Control. Predictability of the supposed unpredictable. The interaction with nature in the broader game of instinct and in the dynamic relations between humans and animals. With winners on both sides of the spectrum, an experience where they get food and i get the result from them. This, made clear in a time lapse of changeable, lively and sequential images.
  3. Instructions:
    1. Position yourself in front of the screen.
    2. Don’t imitate them.
    3. Don’t ask for sugar.
    4. Don’t call your friends.
    5. Don’t make a trail for others to follow.
  4. Technical:
    1. Ants.
    2. Sugar.
    3. Video camera.
    4. Patience.

7. NATURE

7. NATURE

  1. Description:
    1. Interpolation of a straight image projected on a three dimensional irregular surface changing it completely depending on the observer point of view.
  2. Goal:
    1. The point of view can deceive the construction of an idea, using the juxtaposition and imprint of the design in a simple abstraction of something unidimensional into something pluri dimensional. A volumetric approach constructing a new visualization from the hand and mind of the creator. A projection of intention and desire to complete something with a signature of thought.
  3. Instructions:
    1. Be enlightened by the different positions of the project in your reality.
    2. Please excuse the intervention on the displacement of the natural order of things.
  4. Technical:
    1. Millions of years of evolution and causality.
    2. Natural scenario.
    3. Nail polish.

6. PERSPECTIVE

6. PERSPECTIVE

  1. Description:
    1. Aligning separate shapes, lines and colourful sheets of colour, hanged in space, which can be watched from many perspectives but only from one point you can create the intended image.
  2. Goal:
    1. Position and context. These strong concepts relate to everything in the know universe, better known in more scientifical fields as time and space. Visual techniques can show the observer the alignment of a mind towards a project and nevertheless abstract and subjective at the beginning, the achieved result is not only an autonomous discovery but a deep construction of a collaborative effort between the prize and the quest. Relations of perspective and simple visual dynamics provide a range of infinite cubist moments of enhancement and discovery.
  3. Instructions:
    1. Follow the instructions on the floor.
    2. Look to where the arrow is pointing.
  4. Technical:
    1. Transparent vinyl.

5. LINES

5. LINES

  1. Description:
    1. An interpolation of straight light lines and our own three dimensional reality, showing curves, volumes and shapes of humans bodies and of the space around them. People can create an installation which changes with every move they make in the space.
  2. Goal:
    1. The possible representations of a volume can be a judgmental opinion on technique, tool and knowledge. The known dogmas of it can be used in a graphical dynamic attempt to show everybody, informed or not about this subject, how a simple projection can affect the way we are volumetrically related with space and reality.
  3. Instructions:
    1. Use the projection to define your body volume.
    2. Make a video or take a picture and share.
  4. Technical:
    1. Video projection.

4. POLY MIRROR

4. POLY MIRROR

  1. Description:
    1. A reflection of reality, especially human bodies in a three dimensional poly structure which dismembers, segments, partitions, deforms, switches and changes everything around it and is also infinitely adjustable. It can work by itself, composed with other objects or even put on a human body and used as a cover of this reality.
  2. Goal:
    1. Theres a difference between the way people look and the way people see the reality in which they are imbued in. Fractaling the reality can foresee details of reality in some subjects while triggering newly found consciences in others. The way i decompose the infinite reflections of perceived true is an basic exercise of understanding and awareness. Knowledge is no longer a matter of conscience but a personal approach on perception.
  3. Instructions:
    1. Relate to the scale of the object.
    2. Look at the reflections of adulterated light.
    3. Find yourself.
    4. Breathe and use this in your daily life.
  4. Technical:
    1. 50x70cm folded 300gr paper.
    2. Reflective adhesive vinyl (chrome).

3. DETAIL

3. DETAIL

  1. Description:
    1. Precise papercut of my scaled human fingerprint which shows a different perspective on reality as a composition of details which we usually don’t pay attention to.
  2. Goal:
    1. Analogue techniques and the nano quantum tools, are the new standards to define a good work (at least to the eyes of the general audience). Selecting the best materialisation for a project is now a new excruciating process of research and eternal development of knowledge. The computer can no longer be the end in itself of the digital creation when we see the rise of the mixed analogue digital medium blend of creative production.
  3. Instructions:
    1. Get real close and count the lines.
  4. Technical:
    1. Laser cut 300gr colored paper.
    2. 70x50cm frame.

2. MARK OF TOUCH

2. MARK OF TOUCH

  1. Description:
    1. Crafted marks of touch on the composition of old photos, postcards, books, maps showing an intimate relation between an owner and his personal affection.
  2. Goal:
    1. Transformation of existing content should be a curated, rational vision of innovation and precious advancements of concepts. More than a carry through inaction without a defined goal it should be a rather effortless yet fastidious relation of talent and selection of historical references with the intended result. The way to expropriate the initial author out of the researched content is also a way to respect the new intellectual clusters formations those bases can provide. Marked.
  3. Instructions:
    1. Do not TOUCH.
    2. Build your own story
  4. Technical:
    1. Paper photos, maps, texts.
    2. Needled fingerprints.
    3. Cotton sewing line.

1. INFINITY

1. INFINITY

  1. Description:
    1. A process of craftly creating an infinity pattern, consisting of three modules which can be developed endlessly by viewers themselves in a fully unpredictable way.
  2. Goal:
    1. The endless juxtaposing of elements provides the infinite number of patterns and textures related to the visual enhancement of a simple shape. The interaction between the creator and the end user in the creation process can become a parallel path of discovery. The tools are only a formality and the end result maybe never achieved, relying on the record of the experience as an exercise of shared creation.
  3. Instructions:
    1. Position yourself in the middle of the surface, perpendicular to the motion of the roll of paper.
    2. When you prefer, put a blank part of the roll in front of you by using the lateral rolls.
    3. Use the ink recipients to dip/color the stamp.
    4. Use the stamp to create a new and personal pattern.
    5. Be a part of the result.
  4. Technical:
    1. Endless sheet of Craft paper.
    2. Wood laser cut stamp.
    3. Colored ink.

#interpolation #design

INTERPOLATION DESIGN

#abstract

Spinning a story, continuing, developing.

Entangled data teleported to the matrix of comprehension.

The medium point between conscience and reality.

The resilience of at least two possible directions in any given context.

Design as a mean to effectively communicate, should be a linear process of cumulative conceptual integration.

From the initial ideas to the deepest formal expressions in more or less fashionable graphical elements and certainly, given the author, design should evolve the existing procedural elements and trends while still following the basic principles of generic graphic communication, in order to be effective. A cumulative linear process starting with the briefing, ranging from the decisive idea, initial trial and structure, advancing vigorously to the proven concept and technical rational development, thus providing the means to materialise the desired execution.

This approach, my approach towards the profession, makes me think if we are indeed near a re evolution and critic by innovating the way we arrive at a final solution or simply delaying the advances in traditional print and digital media in order to become obsolete later in time. This also troubles me because the constraints of the designer are not formal or conceptual, they are technical! Designers don’t accept being technicians of broad communication by formation.

They reject it only to become failed artists of shape and color. We all know that a common designer lives in a chaotic search for answers, in the troubled deadlines, irreal clients and briefing requirements. A true problem solver, but with deadlines in mind. He needs help. So when will come the messias? The rational, calm, prolific and integrationist methodist adventist designer that will provide a new age in design.

This features are not in the designers DNA and above all they are not taught as a prerequisite in his formation. Sure there some who follow some rules, regulations, procedures and methodical approaches, but they are rarer than Krypton, and only follow their own rules. They are bonded to the flat thinking critic that structures their minds since the early formatting of the first work experiences. Designers are flat and should watch the way media is constructively evolving.

So, why graphical media is trying to leave its bidimensional structure for such a long time and never assumes a direct composite approach of full subject immersion in the process? And I’m not trying to confuse digital 3D immersion media with some graphical elements that are already in use. Because i am saying loud and clear to designers to get to know better your geometry bases and use perspective in the way it represents accurately some given formal concept or principle such as: depth.

This is the distance from the top or surface of something to its bottom.

The distance from the nearest to the farthest point of something or from the front to the back. It’s used to specify the distance below the top or surface of something to which someone or something percolates or at which something happens. Is the apparent existence of three dimensions in a picture, photograph, or other two-dimensional representation; perspective.

Providing:

  • complexity and profundity of thought. synonyms: profundity, deepness, wisdom, understanding, intelligence, sagacity, discernment, penetration, insight, astuteness, acumen, shrewdness;
  • complexity, intricacy;
  • extensive and detailed study or knowledge;
  • intensity of emotion, usually considered as a laudable quality;
  • intensity of color;
  • a point far below the surface.

Design needs to leave the comfort zone defined by flat bidimensional thinking. Designers need to embrace the world as we sense it. Complete and utterly material. Interpolating the codes needed to decypher communication in a real and evolved reality, approaching, at the verge of the re evolution.

#abstract #trends #interpolation #2015

What are trends?

They are an unique way of looking at problems and presenting a solution theorem, never an end result in itself. Since problems are always evolving, trends are constantly changing in time, and creating new questions around new problems.

Why are trends significant in design, creation, critic and evolution?

Proposing new concepts and approaches are the way to look beyond the horizon. The known limits of the present should be a catapult in which we position our feet to feel the motion of innovation and discovery. Through research and development i am presenting some hypotheses on how we can question the formation of a new path, a new context and propose enhancements to the state of the current medium in which we stand.

When should trends be presented?

Renewal cycles are only a matter of personal evolution and timing. Using normal calendar constraints, a yearly report of selected ideas can curate an obligation of forward motion. Yearly.

How often they should be questioned and changed?

The criteria for good creation and design in general should be as durable and timeless as it is possible. Never settling with a simple pictorial achievement makes the last statement rather ethereal and accomplishes the major responsibility for a creative life of restless, never ending, work. Depending on your tenacity and depth of creative and critical exploration the rate at which your mind can evolve is a determinant factor in the cycle of question and change.

Who materialises concepts in trendbooks and exhibitions?

Trendbooks, as a media, are a way to keep and propagate good, smart ideas to use them and improve your work. Exhibitions are a moment where trendbooks can be dissected and explained to an informed audience. Trendmakers are exhibitors and all are just names for an entity of creation, sometimes human, that removes all the filters, clothes and constraints just to appear naked and pure to the critic eyes of the audience. Here i am called Creative Director but i prefer to call myself Sérgio Magalhães.

Where?

@studium @porto @world

 

nigel stanford #CYMATICS

From the album ‘Solar Echoes’.
NigelStanford.com/Solar_Echoes

Download the video in 4k. All of the science experiments in the video are real. Watch behind the scenes and see how it was made.
NigelStanford.com/Cymatics

Facebook: facebook.com/johnstanfordmusic
Twitter: twitter.com/nigel_stanford

Directed by ShahirDaud.com
Cinematographer: Timur Civan timurcivan.com

 

#depth #design and the #interpolation of the old #bidimensional #designer

Design as a mean to effectively communicate, should be a linear process of cumulative conceptual integration.

From the initial ideas to the deepest formal expressions in more or less fashionable graphical elements and certainly, given the author, design should evolve the existing procedural elements and trends while still following the basic principles of generic graphic communication, in order to be effective. A cumulative linear process starting with the briefing, ranging from the decisive idea, initial trial and structure, advancing vigorously to the proven concept and technical rational development, thus providing the means to materialise the desired execution.

This approach, my approach towards the profession, makes me think if we are indeed near a re evolution and critic by innovating the way we arrive at a final solution or simply delaying the advances in traditional print and digital media in order to become obsolete later in time. This also troubles me because the constraints of the designer are not formal or conceptual, they are technical! Designers don’t accept being technicians of broad communication by formation.

They reject it only to become failed artists of shape and color. We all know that a common designer lives in a chaotic search for answers, in the troubled deadlines, irreal clients and briefing requirements. A true problem solver, but with deadlines in mind. He needs help. So when will come the messias? The rational, calm, prolific and integrationist methodist adventist designer that will provide a new age in design.

 

This features are not in the designers DNA and above all they are not taught as a prerequisite in his formation. Sure there some who follow some rules, regulations, procedures and methodical approaches, but they are rarer than Krypton, and only follow their own rules. They are bonded to the flat thinking critic that structures their minds since the early formatting of the first work experiences. Designers are flat and should watch the way media is constructively evolving.

So, why graphical media is trying to leave it’s bidimensional structure for such a long time and never assumes a direct composite approach of full subject immersion in the process? And I’m not trying to confuse digital 3D immersion media with some graphical elements that are already in use. Because i am saying loud and clear to designers to get to know better your geometry bases and use perspective in the way it represents accurately some given formal concept or principle such as: depth.

This is the distance from the top or surface of something to its bottom.

The distance from the nearest to the farthest point of something or from the front to the back. It’s used to specify the distance below the top or surface of something to which someone or something percolates or at which something happens. Is the apparent existence of three dimensions in a picture, photograph, or other two-dimensional representation; perspective.

Providing:

  • complexity and profundity of thought. synonyms: profundity, deepness, wisdom, understanding, intelligence, sagacity, discernment, penetration, insight, astuteness, acumen, shrewdness;
  • complexity, intricacy;
  • extensive and detailed study or knowledge.
  • intensity of emotion, usually considered as a laudable quality.
  • intensity of color.
  • a point far below the surface.

Design needs to leave the comfort zone defined by flat bidimensional thinking. Designers need to embrace the world as we sense it. Complete and utterly material. Interpolating the codes needed to decypher communication in a real and evolved reality, approaching, at the verge of the re evolution.

#solipsism

Evolution, knowledge and self awareness as an #interpolation of #studium reality over consciousness.

The primal birth of our collective mind, adjusting the fittest to survive in a constant cycle of discovery based on human interactions. The entity of the individual overcoming everything in its path to become the master of the ensemble. The connections are only dependent of the concepts available to become more than ideas in the general acceptance of our society. This is the normal procedure that enhances innovation to the limits of possibility and surpases common denominators with the ambition of more.

A language of discovery and status, identifying the defiance of the established. Searching incessantly for the answer that needs a new code to be written. This is #studium: an eternal search for the unknown, deep in the reality that foresees rarity.

The destruction, by construction, of the dogmatic prejudices of reality exist only there to become obsoletes.

Find out more HERE.

© Directed by Andrew Thomas Huang : andrewthomashuang.com

WINNER at SLAMDANCE 2012 of the Special Jury Prize for Experimental Short

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Original Soundtrack: itunes.apple.com/us/artist/the-nautilus-diary/id514184687

Cast Featuring: Mary Elise Hayden, Marissa Merrill & Dustin Edward

Executive Producers: David Lyons & Andrew Huang

Producers: Laura Merians & Stephanie Marshall

Cinematographer: Laura Merians

Production Designer: Hugh Zeigler

Costume Designer: Lindsey Mortensen

Hair & Makeup Designer: Jennifer Cunningham

Sound Design & Original Score: Andrew Huang

A Moo Studios & Future You Production

Copyright 2012 Andrew Huang All Rights Reserved.