With the start of this post, the end of this project is near, and it sure feels tranquillising to finally be able to step back and reflect on the sculpture and slowly begin to visualise the concluding outcome. The initial plan of crafting this interesting artwork was carried out quite firmly until the end of the semester.
The experimentation and research certainly helped push the boundaries of confinement; to develop this fabulous story with meaning, with compact design structure and effectively deliver emotional content.
The most rewarding discovery of research is this sculpture by Gian Lorenzo Bernini, and particularly how the work depicts an ancient myth on the story of Apollo and Daphne.
Setting and Display Plans
This drawing is a visual plan to capture the setting of the exhibit space, how the audience can interact and engage with the artwork. Again, the ultimate goal was to produce a concept that creates the illusion of sculpture, treating it as an object part of a gallery or museum.
For the physical display, the work involves a projection in mapping out the render details from the sculpture and create the realistic finish of the artwork based on textures and materials used in original classical sculpture. Currently, there is no specific information from technicians regarding the type of projector, but the plan is to export the render in standard and supportive file formats.
For the physical object, the sculpture is prepared and ran through a CNC cutting machine; the material for this process is MDF. Then, once cleaned and painted, holds four D ring hangers to position on the wall. The planned designated location is in the dark area in the exhibition space, as shown in the 3d concept below. To be fitted at an average human height (from 1.5m and up).
There have been some issues with wiring from previous tests, therefore to avoid these issues, the projection will be stationary on its plinth, which is also useful to tuck in and hide the hazardous elements.
3D Composition Plans (using classmate's block-out)
The symbolism signs are kept in minimal design to be less obvious and flow with the artwork. It offers a change to the audience to explore the details in order to understand more about this ancient myth.
For the final exhibit display, the plan is to use project mapping to reattach the symbolism.
The fact that the concept art was clear and supportive really helped to map out the proportions of the sculpture.
When reflecting on the details of the moon from the concept art, the plan was to draw out a soft fabric cloth to trace around and under Daphne to show her conversion from human to moon.
However, as the block-out of basic shapes continued, the curves have gained more weight, and the moon started to resemble details of a tree. This form was without real purpose where the real focus was to prepare this first draft for printing. Bizarrely it relates to the original sculpture of Bernini, that show Daphne's conversion from human to a tree.
Thinking ahead, this method of approach is the most advanced and rewarding looking at scale and level of quality to support the dense details from the render.
To reflect on the artwork from the research phase, and in order to build a more related emotional connection between the audience and the artwork.
Research shows that the scale of classic paintings and sculpture plays an important role; it can influence their understanding on how the eyes observe and appreciate the grand scale of the art and the process to completing this.
Most updated render tests and visual plan for the render style for the exhibition.
Previous observations of project issues
While the main focus continued to be sculpture and storytelling, due to the diversity in exhibition assembly, there had been many experiments, of carving into the material to conclude the more advantaging material for projections: thus, to advantage the sculpture both in the physical and projection sections.
During the development of the idea, anatomy studies and drawings, the physical crafting practice had been delayed, causing unforeseen issues later in the project and deadlines plan.
Exploring projections and physical crafts at a crucial stage seemed as though the process was falling apart and eating away the time to make progress on the digital sculpture to identify which material and method of carving will finally support the concept build an illusion of real-life sculpture.
The more an idea of crafts did not successfully work, the more time is loss of experimentation and the more stress accumulated on whether the physical model holds enough value to be continued. Therefore, at that stage, the combination of digital and physical appeared to be a challenging aspect of continuing to consider.
Another point related to the physical prop construction is the element of thickness, which makes it three dimensional. The previous experiment with projections have shown that image quality gives away; it becomes blurry when the object has many levels of thickness.
Luckily, with advice from the tutors and workshop technicians, the CNC carving method was discovered, and from this point, things started kicking back in gear. Ultimately, the choice and advantage of crafting the sculpture with the CNC machine are to save time on carving the object manually and being able to focus on drafting the digital model for carving entirely.
There have been limitations at figuring out ways of restructuring the sculpture to a compact 50MM thickness due to the limitation of the material provided. The material of choice is MDF, on a scale of 2440 x 1220.
There have been different focuses on the visual aspects of the art-piece; drawing designs, anatomy studies, projection mapping, sculpture and communicative story telling. Out of every aspect, concept design in drawing and sculpture will be favoured as expected practices shortly. However, it has been a valuable experience of working from a verified selection of tools or types of equipment to craft an outcome which is almost exhibition worthy. This proposal assumption is because there are many more key ideas or views for delivering a product which offers better experience/engagement. Perhaps the most prominent view would be to go through and reassemble the pose, to induce more action and expression using the actor's body language.
The practices of human anatomy are due to continue; at this point, it seems clear that this is something of great interest and value.
As an overview, one can leave this project with the thought to someday getting back, to rebuilding this concept on a much larger and immersive scale both with the use of software technology and physical craftsmanship. So maybe with a little bit of luck getting the new love story through to exhibitions.
Bernini, L. G., (16221625) Apollo and Daphne. [online image] Available at: https://i.pinimg.com/originals/1d/fd/f4/1dfdf4241ccd0873943f4d6fa457df08.jpg [Accessed 13 Mar 2019].
Zucker, S. D. a. H. B. D., (2012) Transcript of Apollo and Daphne. [online] Available at: https://www.khanacademy.org/humanities/monarchy-enlightenment/baroque-art1/baroque-italy/v/bernini-apollo-and-daphne-1622-25 [Accessed 13 Mar 2019].