WEEK 1 – DRAFT ONE
For the methods of iterating brief I choose the tool ‘Blender’. Blender is a software that helps ‘push the boundaries of Story Art and by drawing in a 3D environment.’ (Blender, 2023).
Using this tool was initially very challenging, as you first need to become familiar with all the shortcuts and functions, which takes a lot of time and effort. A particular challenge while using Blender was using functions such as to ‘bevel’ or ‘extrude’ objects and getting to know the program’s vocabulary.
Once able to manipulate the object, one also realises the potential of the program: the ability to transform objects without actual physical environmental effects of the real world. Thereby it is possible to explore all potentials in-depth of each detail without dependency or following usual physical rules. Not only is the object modelled, but the circumstances too. Hence the tool favours limitless and artificial distortion of objects.
A finding I discovered while working with Blender was that everything existing as a virtual model is a mesh combination. While in 3D modelling, a lot is about imitating the actual world, an actual volume is only possible the moment a 3D model gets translated/printed in the real world. Until then, the digital objects remain voids – faces stuck together with Vertexes and Edges.
As a further exploration, I want to explore the distortion aspects, thereby revealing the void and mesh structure. By carrying out this process, I want to develop a deeper understanding of how this tool functions.
Blender (2023) Homepage. Available at: https://www.blender.org (Accessed: 16 January 2021)
Fisher, U. (2022) CHAOS #1 Human [Digital art]. Available at: https://www.chaosoahchaos.com/1/ ) (Accessed: 16 January 2021)
WEEK 2 – DRAFT TWO
Throughout my experimentation and examination of Blender, I discovered new findings about the tool that I would like to share:
This time instead of modelling each object by myself and using picture references, I downloaded free 3D blender models from existing websites. Interestingly enough, I realised that the files on these platforms could be divided into just a few categories: most platforms frequently feature firstly interior design objects, then cars, weapons and finally toys. This lineup is a revealing listing of items as it informs us about the users on the platform (e.g. interior designers and game designers) and their needs.
Using those existing models, I started dismantling them by revealing their mesh structure and then continued distorting and changing their habits. Another unexpected result of my experiments was that after using a few of the modifiers on Blender, most likely, some models would transform into visuals that would make you feel slightly uneasy. This led me to ask why this is the case.
Having the words from the Conditional Design Workbook (2013, Blauvelt, A., et al.) in mind, I was interested in diving deeper into the process of why these movements seemed to provoke an unsettling feeling. ‘Even though a process has the appearance of objectivity, we realise the fact that it stems from subjective intentions.’ (2013, Blauvelt, A., et al.)
Digging deeper into these subjective intuitions and fascinated by unsettling interventions, I would, from then on, manipulate those moments of unease – such as making objects wobble or letting them move very abruptly. Throughout these processes, the iterations revealed a pattern in the end. By manipulating the structures of the 3D models, the void and mesh structure of each object was revealed. Seemingly solid objects or substances transform into a structure held together by mesh or surfaces. Each object thereby displayed its synopsis of interconnections.
As a result, I realised that Blender’s asset is to model actual physical objects nearly lifelike, but to oppose this process, you need to exaggerate and reveal the mesh structure underneath. The moment you manipulate the object so its mesh structure is revealed, it seems to lose its logic or biomimicry.
From then on, I worked with wrapping elements as a way of hacking the process. By covering an object with cloth, sometimes hidden elements of the item would become visible – thereby revealing their invisible functions (such as the armature).
The process of enfolding through wrapping refers reminded me of the artist duo Jaune-Claude and Christo. Their intention while wrapping items was to appropriate ordinary items, stripping them of their function and permanently preserving them for posterity. A famous example in 2022 was the Arc the Triomphe in Paris. The wrapped monument led people to gaze with renewed interest at the underlying object and the space in which it exists while imbuing ordinary forms with new sculptural qualities.
As a result of this investigation, it opened up a few new questions:
If everything is supposed to look lifelike in Blender, but it’s actually mesh, is there any way to hack this process by reversing it?
When wrapping virtual objects can help make hidden elements visible, could this process also help realise a nuclear mesh structure in the actual world as well?
Closely aligned to the manifesto of the Conditional Design Workshop, I defined my plan for the next week: ‘To work with a plan that is preset is one way of avoiding subjectivity.’ (2013, Blauvelt, A., et al.)
As a studio-based experiment, I would like to develop an iterative experiment that reveals by wrapping physical models in cloths. These models will consist only of mesh structures – either metal or plastic mesh. The idea is to unwrap a structure by wrapping, which was directly translated from the process in the virtual environment.
Rules as Constraints:
The Process:
- Time: a few seconds divided by keyframes
- Relationship: two objects (a mesh and a wrap) interacting
- Change: the visible difference between wrapped and unwrapped
Input:
- White fabric cloth
- Metal mesh structure
- 3D models
Tool:
- Digital camera
- Blender
Logic:
- Minimise randomness by defining the logic
- Real-world: consisting of seemingly solid objects but essentially made out of nuclear interconnections, or in other words: mesh
- Virtual world: consisting of void elements stuck together by a mesh and vertexes
In order to make this process rigorous and systematic, I will experiment further with Blender while comparing this with the real-world output, which will deepen my understanding through repetition and iteration.
Blauvelt, A., Maurer, L., Paulus, E., Puckey, J., Wouters, R. (2013) Conditional Design Workbook. (pages, 2-14) ISBN.: 9789078088585
Fisher, U. (2022) CHAOS #1 Human [Digital art]. Available at: https://www.chaosoahchaos.com/1/ ) (Accessed: 16 January 2021)
WEEK 3 – DRAFT THREE
For the third draft of my written response, I choose to literally ‘render’ the text by using the tool and writing the word: BLENDER. My intention was to visualise my findings throughout the process and display the experimentations as well as further iterative potential.
B for BEVEL is one of the most crucial yet complicated processes in Blender. Without beveling, you wouldn’t be able to give form to a shape evenly. It imitates the work of a sculptor but works much more precisely than any real person could.
L for LOGIC. In order to minimise randomness, logic and rules of constraints must get defined first. The logical findings during my investigation were:
- The 3D modelling world consists of void elements glued together by mesh.
- The Real-world consists of seemingly solid objects yet essentially made out of nuclear interconnections, or in other words: mesh.
E for EXPERIMENTATION. The iterations throughout my 3D wrapping experimentations revealed a pattern in the end. By manipulating the structures of the models, their void and mesh structure was shown. Seemingly solid objects or substances transform into a system held together by mesh or surfaces.
Each object thereby displayed its synopsis of interconnections. By recreating a 3D mesh structure in the physical form, I realised that a perfect recreation of a blender idea is only possible with translation errors accruing.
N, as in NEW, represents new interests and questions occurring through wrapping and the ideas this technique conveys.
The process of enfolding through wrapping is not new, though, as it is inspired by the artist duo Jaune-Claude and Christo. While wrapping items, they intended to “appropriate” ordinary things, stripping them of their function and permanently preserving them for posterity. A famous example last year was the Arc the Triomphe in Paris. The wrapped monument let people gaze with renewed interest at the underlying object and the space in which it exists, while standard forms gained new sculptural qualities.
As a result, this opened up a few new questions: If everything is intended to look more or less lifelike in Blender, but it is actually mesh, is there a way to hack this process by reversing it? In other words: When wrapping virtual objects can help make hidden elements visible, could this process also help realise a nuclear mesh structure in the actual world as well?
D as in DRAFTS / DESIGN. Using existing models, I started dismantling them by revealing their mesh structure and then continued distorting and changing their ‘habits’. Another unexpected result of my experiments was that after using a few of the modifiers on Blender, some models would likely transform into visuals that would make you feel a bit uneasy. This made me question why this was the case.
This question and my whole investigation would not have existed if I had not created different drafts.
E stands for the EXPLORATION < EXPERIENCE. The more experiments I conducted during this process, the more experience and knowledge I could gather about this tool. Making the process rigorous, systematic and continuous, I conducted as many experiments as possible in this short amount of time. Having the comparison of Blender versus the natural world in mind, I would keep on deepening my understanding through experimentation by using virtual and physical modelling.
Thereby I discovered my latest logical finding:
The real world is and will never be as perfectly constructed as the virtual world. You can not create nor preserve a real perfect object as, through time and ever-changing atomic interconnections, the item is constantly changing – in contrast to the virtual world. Any evolution happening in the virtual world is man-made and reversible. This represents a constant struggle of today’s designers, as an implemented design never seems as accurate as the design drawn on a digital device.
R for RENDER = REALITY? The word ‘Blender’ in English also refers to a kitchen tool. Usually used for vegetables or fruits, it helps mash-up items and blends them together. On the other hand, in German, ‘Blender’ is a person who likes to simulate or pretend to be someone he/she is not. The verb ‘blenden’ also means something is shining so bright that you can not see correctly, as if you go ‘blind’.
The final video, which features the interaction of all letter animations, is the result of my experimentation condensed into one artefact. The song in the background is a German rap sung by Rola, who talks about her frustration with imposters: ‘Get a job, I do not have time for hollow words, yeah-eh-yeah blender, blender.’
Finally, the definitions in English and German in combination with the video result wrap up the investigation and iterative processes that I have undertaken throughout the past weeks. Seeing through the ‘blinding’ rendered reality, I have gained a new understanding of Blender that, without this brief, I would not have had.
Blauvelt, A., Maurer, L., Paulus, E., Puckey, J., Wouters, R. (2013) Conditional Design Workbook. (pages, 2-14) ISBN.: 9789078088585
Fisher, U. (2022) CHAOS #1 Human [Digital art]. Available at: https://www.chaosoahchaos.com/1/ ) (Accessed: 16 January 2021)
Rola (2018) ‘Blender’, 12:12. Available at: Spotify (Accessed: 11.02.2023)