This set of animations is a first attempt at project 1C, which is about using these animations to show how these objects are a study of surface, and frames said surface study as a sequence of sections communicating a clear process and intention.
The first set of animations refer to the first form of the previous post.
This first animation skims the outside of the model, and portrays the object as moving in response to the observer, rather than the observer moving with the object.
This animation serves as a counterpoint to the first, having the observer follow the surface of the object.
This third animation attempts to follow the path of the one of the trace points originally used to the generate the form. Specifically, this focuses on the trace point representing the location of Yuval's head.
The next set of animations originate from the second model of the previous post, the one composed of the five ribbon forms.
The first six elements follow six of the trace points used to generate the forms of the model.
The first point here is the navel. As the navel is often referred to as the center point of the human body, this animation is mean to act as he patch of the core of the five forms.
This animation follows the path of the right hand.
This animation follows the path of the right foot.
This animation follows the path of the left foot.
This animation follows the path of the left hand.
This animation follows the path of Yuval's head.
This animation is a composite showing the previous animations in sequence. The order is not arbitrary; it begins at the core, and then goes around the perimeter of the form going clockwise from the right hand and concluding at the head.
This last animation is another composite, and serves as a contrast to the previous. Rather than showing each sequence individually, this animation shows all the paths simultaneously, arranged in a manner imitating the locations of each point within the form.
2 comments:
For your top animation, the one that incorporates the animation of "sinking" and intersecting the surface plane.. Be weary of the direction of light...
Consider different possibilities of composing the casted shadow on the ground surface, and how it can help in informing the relationship (and distance) between the rest of the model and the plane.
What I mean is.. as one example, what if the light source is right above the model, along its central axis? And the light source moves down at the same pace as the model... hence the casted shadow will also proportionally (and temporally) change its shape
The third iteration were the camera follows the curve seems to catch my eye the most. It must be how the camera moves almost fluid like, although I would have liked to have seen the camera frame to stay on the outside of the model all the way through, seeing the framing of the object moving from right to left.
The collage of all six videos is quite interesting, being able to view the model at six consecutive views at the same time helps to understand the model in a more broken/sectional perspective, yet also as a whole entity
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