dbn 三組對立材質

三組對立材質的表現：規則與不規則，

其之間的相似及相異之處，仔細觀察後會有一般新見解；

隱藏在不規則圖形中的規律或是規則圖形裡的律動、漸變，

另這些細微的變數相當有趣。

The practice of DBN【2】

嘗試使用色彩去做一些變化，
更改不同的數值去體驗每種變化所營造出的不同的效果。

每張各有不同的表現，
而當這樣排列在一起的時候，
所呈現出來的又是另一種效果。

The practice of DBN

textures by DBN

材質三連發 製後語

這一系列用點線面的元素作發想的起點
在與法中也同樣用對應的點線面語法操作

最先進行的是面的系列..第一各作品是 face_2 回字型字陣
這有點是延續上課的練習作業..算是滿偷懶的一張

進行到 face_1 地磚四方連續
這張就開始思考方塊在畫面中可以表現的可能性有哪些
我想到的是一種對稱型..於是就做出地磚的質感
在這張中還是用理性的思考模式去建構自己預計中的畫面

接著是line_1 放射圓錐圖形
在這各畫面中.我開始用一組預設的語法來做不同的組合
當然最後的畫面並非事先所想好的
純粹一開始只是想做一幅放射狀的圖案
而在repeat的指令中重複2次不同的變數做出類似級數的變化
讓每各角錐會有漸層而也有立體感

line_2 拋物線空間構成
做過放射型圖案後..我做了一次反向思考
將畫面改由外向內集中
利用拋物線圖形由外向內集中..同時調整顏色的深淺做出遠近的空間感
而整各圖形中用三組圖形組合
這張圖做了近3各小時
最困難的地方是在如何去控制拋物線在畫面上出現的位置跟大小

dots_1 點集合成面
再做了前面4張後..大致把這一系列的語法歸類出一種公式
repeat a front to
{
repeat b front to
{
pen ()
function (x,y) (x,y)
}
}

可能寫不是很清楚
大致上是用兩次的repeat來建立函式中的變數範圍
同時可以決定pen的濃淡 做出漸層效果
而在function則依據使用的點線或面的語法決定後面的座標起點及終點
加入變數後做出線段或點可能行徑的路線
舉例線段
repeat a 1 10 //宣告變數a 由1到10
{
pen 80 //筆劃顏色
line 0 0 (10-a) a //設定線斷的初始值 起點是(0,0) 終點是((10-a),a)
}
所以在終點的座標加入了變數a 最後的畫面就會呈現扇形的線集合

因此純粹都是用這樣的概念套用在每張圖中
dots系列也是如此

最後的dots_2 純粹的點集合成線段
這張應該是作來和dots_1作對比的
所以沒有做太多的規劃和思考
同樣也是用級數概念做運算
但是盡量簡化整各畫面

以上就是這一次的dbn作業

材質三連發 最後一彈 -面-

face_1

face_2

face_1 script

// enter program
size 100 100 4
Command rect L B R T
{
Line L B R B
Line R B R T
Line R T L T
Line L T L B
}

//左下
repeat a 0 9
{
pen (100-a*10)
rect (a+0) (a+0) 50 50
}

repeat a 0 9
{
pen (a*10)
rect 10 10 (a+40) (a+40)
}

repeat b 0 9
{
pen (100-b*10)
rect (b+10) 10 40 (40-b)
}

repeat a 0 9
{
pen (100-a*10)
rect 20 (a+10) (40-a) 30
}

repeat a 0 9
{
pen (a*10)
rect (a+20) (a+20) (30-a) (30-a)
}

//左上
repeat a 0 9
{
pen (100-a*10)
rect (a+0) 50 50 (100-a)
}

repeat a 1 9
{
pen(100-a*10)
rect 10 (50+a) (50-a) 90
}

repeat a 1 9
{
pen (100-a*10)
rect (a+10) (a+60) 40 90
}

repeat a 1 9
{
pen (100-a*10)
rect 20 70 (40-a) (90-a)
}

repeat a 0 9
{
pen (a*10)
rect (a+20) (a+70) (30-a) (80-a)
}

//右下
repeat a 1 9
{
pen (100-a*10)
rect 50 (a+0) (100-a) 50
}

repeat a 1 9
{
pen (100-a*10)
rect (a+50) 10 90 (50-a)
}

repeat a 1 9
{
pen (100-a*10)
rect 60 10 (90-a) (40-a)
}

repeat a 1 9
{
pen (100-a*10)
rect (a+60) (a+10) 80 30
}
repeat a 1 9
{
pen (a*10)
rect (a+70) (a+20) (80-a) (30-a)
}
//右上
repeat a 1 9
{
pen (100-a*10)
rect 50 50 (100-a) (100-a)
}

repeat a 1 9
{
pen (100-a*10)
rect (a+50) (a+50) 90 90
}

repeat a 1 9
{
pen (100-a*10)
rect 60 (a+60) (90-a) 90
}

repeat a 1 9
{
pen (100-a*10)
rect (a+60) 70 80 (90-a)
}
repeat a 1 9
{
pen (a*10)
rect (a+70) (a+70) (80-a) (80-a)
}

face_2 script

// enter program
size 100 100 4
Command rect L B R T
{
Line L B R B
Line R B R T
Line R T L T
Line L T L B
}
repeat x 0 6
{
repeat y 0 6
{
pen 30
rect (16*x-7) (16*y-7) (16*x+7) (16*y+7)
}
}

repeat x 0 6
{
repeat y 0 6
{
pen 50
rect (16*x-5) (16*y-5) (16*x+5) (16*y+5)
}
}

repeat x 0 6
{
repeat y 0 6
{
pen 70
rect (16*x-3) (16*y-3) (16*x+3) (16*y+3)
}
}

repeat x 0 6
{
repeat y 0 6
{
pen 90
rect (16*x-1) (16*y-1) (16*x+1) (16*y+1)
}
}

材質三連發 第二彈 -線-

line_1

line_2

line_1 script

// enter program
fastsize 100 100 4
Repeat a 0 10
{
repeat b 0 10
{
repeat c 5 25
{
set [(a+b*10) (a+b*c/3)] (a*b+20)
}
}
}

Repeat a 0 10
{
repeat b 0 10
{
repeat c 5 25
{
set [ (a+b*c/3) (a+b*10)] (a*b+20)
}
}
}

Repeat a 0 10
{
repeat b 0 10
{
repeat c 5 25
{
set [ (100-(a+b*10)) (a+b*c/3)] (a*b+20)
}
}
}

Repeat a 0 10
{
repeat b 0 10
{
repeat c 5 25
{
set [ (100-(a+b*c/3)) (a+b*10)] (a*b+20)
}
}
}

Repeat a 0 10
{
repeat b 0 10
{
repeat c 5 25
{
set [ (a+b*c/3) (100-(a+b*10))] (a*b+20)
}
}
}

Repeat a 0 10
{
repeat b 0 10
{
repeat c 5 25
{
set [ (a+b*10) (100-(a+b*c/3))] (a*b+20)
}
}
}

Repeat a 0 10
{
repeat b 0 10
{
repeat c 5 25
{
set [ (100-(a+b*c/3)) (100-(a+b*10))] (a*b+20)
}
}
}

Repeat a 0 10
{
repeat b 0 10
{
repeat c 5 25
{
set [ (100-(a+b*10)) (100-(a+b*c/3))] (a*b+20)
}
}
}

line_2
size 100 100 4
//1
repeat a 1 10
{
repeat b 3 8
{
pen (a*b-b-10)
line 20 (20+a*b-b) (30+a*b-b) 70
}
}
//2
repeat a 1 10
{
repeat b 3 8
{
pen (a*b-b-10)
line (20+a*b-b) 70 70 (70-a*b-b)
}
}

//2
repeat a 1 10
{
repeat b 3 8
{
pen (a*b-b-10)
line 70 (70-a*b-b) (70-a*b-b) 20
}
}

//2
repeat a 1 10
{
repeat b 3 8
{
pen (a*b-b-10)
line (70-a*b-b) 20 20 (20+a*b-b)
}
}

//1-1
repeat a 1 10
{
repeat b 3 8
{
pen (a*b-b+20)
line (a*b-b+50) (a*b-b) (100-a*b-b) (50+a*b-b)
}
}

//1-2
repeat a 1 10
{
repeat b 3 8
{
pen (a*b-b+20)
line (a*b-b+50) (100-a*b-b) (100-a*b-b) (50-a*b-b)
}
}

//3-1
repeat a 1 10
{
repeat b 3 8
{
pen (a*b-b+20)
line (a*b-b) (50+a*b-b) (50+a*b-b) (100-a*b-b)
}
}

//3-2
repeat a 1 10
{
repeat b 3 8
{
pen (a*b-b+20)
line (100-a*b-b) (50+a*b-b) (50-a*b-b) (100-a*b-b)
}
}

//2-1
repeat a 1 10
{
repeat b 3 8
{
pen (a*b-b+20)
line (50-a*b-b) (100-a*b-b) (a*b-b) (50-a*b-b)
}
}

//2-2
repeat a 1 10
{
repeat b 3 8
{
pen (a*b-b+20)
line (50-a*b-b) (a*b-b) (a*b-b) (50+a*b-b)
}
}

//4-1
repeat a 1 10
{
repeat b 3 8
{
pen (a*b-b+20)
line (a*b-b) (50-a*b-b) (50+a*b-b) (a*b-b)
}
}

//4-2
repeat a 1 10
{
repeat b 3 8
{
pen (a*b-b+20)
line (100-a*b-b) (50-a*b-b) (50-a*b-b) (a*b-b)
}
}

//1
repeat a 1 10
{
repeat b 3 8
{
pen (a*b-b+30)
line 0 (a*b-b) (a*b-b) 100
}
}

//2
repeat a 1 10
{
repeat b 3 8
{
pen (a*b-b+30)
line 0 (100-a*b-b) (100-a*b-b) 100
}
}

//3
repeat a 1 10
{
repeat b 3 8
{
pen (a*b-b+30)
line 0 (a*b-b) (100-a*b-b) 0
}
}

//4
repeat a 1 10
{
repeat b 3 8
{
pen (a*b-b+30)
line 0 (100-a*b-b) (a*b-b) 0
}
}

//5
repeat a 1 10
{
repeat b 3 8
{
pen (a*b-b+30)
line (100-a*b-b) 0 100 (100-a*b-b)
}
}

//6
repeat a 1 10
{
repeat b 3 8
{
pen (a*b-b+30) line (a*b-b) 0 100 (a*b-b)
}
}

//7
repeat a 1 10
{
repeat b 3 8
{
pen (a*b-b+30)
line (a*b-b) 100 100 (100-a*b-b)
}
}

//8
repeat a 1 10
{
repeat b 3 8
{
pen (a*b-b+30)
line (100-a*b-b) 100 100 (a*b-b)
}
}

dbn材質三連發 第一彈 -點-

dots_1

dots_2

dots_1 script

// enter program

fast

size 100 100 4

Repeat a 0 10

{
repeat b 0 10
{
repeat c 5 25
{
set [(a+b*10) (a+b*c/3)] (a*b+20)
}
}
}

Repeat a 0 10

{
repeat b 0 10
{
repeat c 5 25
{
set [ (a+b*c/3) (a+b*10)] (a*b+20)
}
}
}

Repeat a 0 10
{

repeat b 0 10
{
repeat c 5 25
{
set [ (100-(a+b*10)) (a+b*c/3)] (a*b+20)
}
}
}

Repeat a 0 10

{

repeat b 0 10

{ repeat c 5 25 {

set [ (100-(a+b*c/3)) (a+b*10)] (a*b+20)

}

}

}

Repeat a 0 10

{

repeat b 0 10

{

repeat c 5 25

{

set [ (a+b*c/3) (100-(a+b*10))] (a*b+20)

}

}

}
Repeat a 0 10

{

repeat b 0 10

{

repeat c 5 25

{

set [ (a+b*10) (100-(a+b*c/3))] (a*b+20)

}

}

}

Repeat a 0 10

{

repeat b 0 10

{

repeat c 5 25

{ set [ (100-(a+b*c/3)) (100-(a+b*10))] (a*b+20)

}

}

}

Repeat a 0 10

{

repeat b 0 10

{

repeat c 5 25

{

set [ (100-(a+b*10)) (100-(a+b*c/3))] (a*b+20)

}

}

}

dots_2 script
// enter program
fast
size 100 100 4
Repeat a 0 10
{
repeat b 5 16
{
set [(100-a*10) (a*b)] (a*b+20)
}
}

Repeat a 0 10
{
repeat b 5 16
{
set [(a*10) (a*b)] (a*b+20)
}
}
Repeat a 0 10
{
repeat b 5 16
{
set [(a*10) (100-a*b)] (a*b+20)
}
}

Repeat a 0 10
{
repeat b 5 16
{
set [(100-a*10) (100-a*b)] (a*b+20)
}
}

//2
Repeat a 0 10
{
repeat b 5 16
{
set [(5+(100-a*10)) (5+(a*b))] (a*b+20)
}
}

Repeat a 0 10
{
repeat b 5 16
{
set [(5+(a*10)) (5+(a*b))] (a*b+20)
}
}

Repeat a 0 10
{
repeat b 5 16
{
set [(5+(a*10)) (5+(100-a*b))] (a*b+20)
}
}

Repeat a 0 10
{
repeat b 5 16
{
set [(5+(100-a*10)) (5+(100-a*b))] (a*b+20)
}
}

//3
Repeat a 0 10
{
repeat b 5 16
{
set [(10+(100-a*10)) (10+(a*b))] (a*b+20)
}
}

Repeat a 0 10
{
repeat b 5 16
{
set [(10+(a*10)) (10+(a*b))] (a*b+20)
}
}

Repeat a 0 10
{
repeat b 5 16
{
set [(10+(a*10)) (10+(100-a*b))] (a*b+20)
}
}

Repeat a 0 10
{
repeat b 5 16
{
set [(10+(100-a*10)) (10+(100-a*b))] (a*b+20)
}
}

//4
Repeat a 0 10
{
repeat b 5 16
{
set [(15+(100-a*10)) (15+(a*b))] (a*b+20)
}
}

Repeat a 0 10
{
repeat b 5 16
{
set [(15+(a*10)) (15+(a*b))] (a*b+20)
}
}

Repeat a 0 10
{
repeat b 5 16
{
set [(15+(a*10)) (15+(100-a*b))] (a*b+20)
}
}

Repeat a 0 10
{
repeat b 5 16
{
set [(15+(100-a*10)) (15+(100-a*b))] (a*b+20)
}
}

教材

http://www.heaven17.com/beforeafter.html#
http://static.rateyourmusic.com/album_images/s102875.jpg
http://www.beatbooks.com/beatbooks/images/items/17301.jpg

feature artist: Neville brody
http://www.apple.com/pro/profiles/brody/index.html

feature artist: Vera Molnar
http://www.art-perfect.de/kunsthalle_bremen_vera_molnar.htm
http://hebert.kitp.ucsb.edu/studio/vera-molnar-1pct.jpg
http://www.anneweiler.lu/site%20new/selection_clip_image005.jpg
http://www.electrohype.org/electrohype2004/artist.html

feature artist: Marius Watz
http://www.unlekker.net/
http://evolutionzone.com/

Processing 13

Processing 12

Processing 09

Line Art of DBN

Final: Trailer

1. Prepare storyboards
2. collect materials:
voice, sound, music, clip, text, special effects, voice-over.
3. Be short, concise

每位同學製作一支預告片
兩週後 (1/1/2008) 上傳 storyboards
期末 完成影片

Storytelling & Storyboard

http://www.thestoryboardartist.com/Site/Home.html
http://www.techsoup.org/learningcenter/techplan/page5897.cfm

prectice DBN

I learnt DBN to do,

Extend first be comes.

The practice of DBN【1】

在不完全熟悉DBN的運算方式下，
靠著土法煉鋼一句一句的去輸入程式，
又或者是利用不同順序、顏色去做重疊，
所呈現出來的效果出乎意料的美。
程式給人的感覺是冰冷的，不過透過程式所創造出來的畫面卻可以這樣的使人驚奇，
這是DBN帶給我很特別的感受。

簡單的構成有簡單的美，
複雜的線條也有複雜的美感；
無論是黑白亦或是彩色，
我想都是可以表現出讓人感動的視覺呈現的。

DBN practice

練習...

material & texture B9310051

上課練習

其實隔好幾週才做的..

Pixelsumo - Chris OShea

http://www.pixelsumo.com/
Pixelsumo is a site devoted to sonic art, audiovisual fusion, physical interaction, open source technologies, hacking video game culture, responsive environments & installations.

Exercse 02: 6 DBN artworks

製作三組相對張力的 DBN 習作

Tactile drawing

One step from the top, Essex boy who reached Apple's core

He holds one of the most powerful corporate jobs in America.
His admirers (and customers) include Bono, George W. Bush and the Queen.
This year the readers of Time magazine put him among the 100 most influential people on Earth.

Could Jonathan Ive,
the publicity-shy Essex boy who started his career designing toilets and combs,
be close to performing one of the most extraordinary coups in American business history?

Could this 40-year-old gym-toned, shaven-headed, Aston Martin-driving Brit,
who lives in Twin Peaks, San Francisco, with his wife, who is a historian,
and their twin sons, be the next man to run Apple Computer?

Mr Ive, known to colleagues as Jony,
is already Apple’s senior vice-president of industrial design,
credited widely with the development of every Apple product from the iMac to the iPhone.

詳閱原文- TIMESONLINE

相關聯結: 誰是老賈的接班人？會是...Jonathan Ive？

DBN

WorkShop ╳ WorkShop ╳ WorkShop

I didn't attend the workshop but I knew the workshop was a pretty great experience for some people. On some classmates' articles, I could tell that we were capable of not only learning the particular concept of design but also improving our English ability by chatting or presenting with Master, Markus Fischmann.

But it's really pities because I was not interested in the subject of the workshop. At that time, I asked myself why "I have to take the workshop I am not interested in, not to take routine classes I like.
I second it that the workshop was valuable to the most students, but I didn't want to take a whole week to learn something I might feel bored, even I had to use my poor English to communicate to Master.

Actually, I extremely looked forward to the workshop, but at the first day, when I knew the subject, I felt really disappointed. I thought it was unfair for students because they couldn't choose what they wanted to learn from the workshop. The head of the department got some money from school to temporarily hire the foreign teacher so that letting students felt they had some bonus from the department. But if the head just wanted to pretend he had already done so many things, and spent so much money for students. From freshman to junior, we've learned lots of subjects about visual design, marketing and advertisement…etc, however; it seems that the head of the department attempts to transfer the trend of commercial design to animation anyway. Is it the correct trend? I don't know.

Processing 05

Design By Number

dbn test

workshop

我英文不好,也不太會秀英文..所以我打中文
方便其他同學可以快速閲讀並分享我在WORKSHOP裡面學到的事情.

事實上呢..WORKSHOP的課程裡,一禮拜五天我大概只有上3天半的課程吧
其中包含禮拜一早上我睡過頭跟禮拜三我熬夜太累隔天睡死沒去上..

但WORKSHOP課程內容真的還是令我印象深刻,學校請到一各德國的教授
專長是角色動畫.

他告訴我們,如何設計跟設定一各角色,包括角色的外型、身高體重、表情、和行走的方式、
角色的背景故事、角色外是否還有其他的關係角色等等．
這讓我想到就好像在編一各故事一樣，你必須要有很豐富的想像力，天馬行空也好．盡量
的讓你的故事豐富，讓你的角色具有獨特的人格特質．
然後在藉由ＭＡＹＡ將設計的角色畫出來

在整各課程結束後我們將我們的教學成果上傳到本次ＷＯＲＫＳＨＯＰ的一各網站
每各同學都可以在上面看到彼此的作品－－－雖然堅持到最後的同學不多
但成果還是值得我們同學和老師去肯定的．
至少我覺得這是一次難得的經驗，課程中全程式英文溝通．不只是聽而已，還必須把自己的想法
用英文告訴老師

然而我也很努力的用破破英文去跟老師溝通，不過我想大概也只通６０％吧．
最後在整各課程結束後，我們邀請了老師一起去聚餐．中間聊了非常多事情，很有趣．
他說在他的學生時代在德國，念大學是不用學費的，國家會出錢．
然後在東西德合併前的西德是需要去當兵的，剛好到他的年紀時，東西德合併．
兵源的需求量減少了，而他就這樣．．不用去當兵了．
還有非常多的事情真的十分有趣，也讓我記憶猶新．

我想在這系列的課程中，學到的不只是如何去設計一各角色設定而已．還學到對國外生活的經驗，
國外的教學環境和國內的比較後有什麼差異，和身為一個設計工作者應有的態度．
或許再學生時代的我們每個人的資質不盡相同，但選擇了設計的路．．
那麼就將所有的熱情投注在這個決定之中吧．

對比材質

1.價值對比 2.疏密對比 3.觸感對比 4.爽度對比 5.元素對比 6.觸感對比 7.質感對比 8.型態對比 9.元素對比 10.觸感對比

11.元素對比 12.觸感對比 13.觸感對比 14.材質對比 15.視覺對比 16.觸感對比 17.材質對比 18.型態對比 19.型態對比 20.觸感對比

21.型態對比 22.軟硬對比 23.軟硬對比 24.軟硬對比 25.觸感對比 26.觸感對比 27.材質對比 28.單位對比 29.觸感對比 30.軟硬對比

DBN practice

DBN

校內練習



點的練習



六張對比

立體 金屬 不規律
平面 木頭 規律

i am not a good student!

hey! i want to talk you a secret. there are five days in the workshop, i only attended on monday, ok! you can blame me i what a lazy i was~~~
everybody say Markus Fischman is so great! yes! i do understand absolutely. but at this article, i could like to say something difference to other guy's workshop feeling. what kind person cost the design deparment a lot of money to teach us with 3d role setting in every year. be a thinker, you have to cerebrate at same time, design deparment's choice is adequate way or not for us. yes, i know it is a chance to train our english conversation and express skill. if you are notice national design appulse and improve your english very often. what's different between a local teacher and a foreign teather? over here, you must against my words in this article. you could like to say Markus Fischman give you a macroscopic view that you never see before. but can you show me what did you get in the course of time? the important thing is what did you learn and make a changes in your mind. i consider the way to do evolution oneself is necessary for design students. the world is roll, every thing could be changed. there are a lot of things we have to know. today, the software in the computer is hot but will be update tomorrow. there's not enough time to learn new computer software forever....
now i am a junior, i often ask myself what i want to do in the future, but i can not give me a right answer offhandedly, and you?

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