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I stumbled across this Dezeen article on Karen Ryan last week, and I can’t get her work out of my head.
Ryan uses ‘used’ objects to create amazing graphic-inspired objects which make a strong social comment about consumerism and the obsolescence of products.
She manages to find a place as a product designer amidst a sea of mass-over-production. Very poetic and thought-provoking, whilst being aesthetically very edgy and fresh.
Her personal website has a link to her Flickr photostream, showing objects and process from previous collections.
Joshua Davis is a New York-based artist/designer/graphismo who (among other things) uses generative code to create digital compositions of incredible complexity and individuality.
Davis’ element of the works involved the creation of drawn elements based on images of dissections from a 1908 book called “Types of Floral Mechanics”, which were fed into a generative algorithm, creating highly intricate digital illustrations, some of which were used for hi-res digital inkjet prints, and others printed onto transfers which were applied to the vases during the firing process.
The vases were created by Commonwealth using Maya (a 3D modelling program) and a stereolithographic 3D print of the object was created, in order to derive a mould for slip-casting.
The resulting objects are a collision of technology and organic form, reminiscant of grafted plants and fractal divisions. The sheer materiality of the porcelain and the soft, nature-derived colour scheme of Davis’ illustration makes the works immediately inviting, defying the usual cold preconception of digitally-derived objects.
Interestingly, Davis’ use of colour is actually derived from nature. In an interview on the Apple – Pro website, Davis states,
“I take a lot of digital photographs just to extract color. I go to an arboretum here on Long Island at different points in the year and take pictures of the orchid show or the Christmas poinsettias. Nature does a pretty good job of blending. You’ll get a flower that starts with green, goes up to yellow, and blooms red. So already I’ve got a red, a yellow, and a green that all complement each other…
I take that image and run it through this program I’ve created, and say, ”Okay, extract the top 16 colors.” So now I have a range of colors extracted out of the image that I blended. The most complex color set I’ve done was 74 colors, and the average is 32.”
I find this idea of ‘digital materiality’ really compelling, especially in the forms of object design and wearables. Commonwealth describe themselves as “harnessing a new fluidity applicable to both the brutality of Architecture and the minutia of the graphic arts” as a point of departure for their design firm. This philosophy reminds me of one of my favourite projects by Dutch wunderkind Dinie Besems.
Tropism via Generator.x
a) Are in need of some designer-ly training in complex pattern-drafting
b) Can’t sit down without doing something with your hands
c) have an excess of glue and time
then you should be papercrafting. Yup, it’s the original print-it-out-and-waste-some-time craft.
(The next post will be more cerebral, I promise…)