• The New Painterly

    The New Painterly
    los angeles CALIFORNIA

    critic: Andrew ATWOOD

    suckerPUNCH: Describe your project.

    Austin SAMSON & Danny KARAS:
    Painting: The project revolves around the idea of using the Chiaroscuro effect as a way to create and manipulate three-dimensional space within a two dimensional drawing or image. This is done by using conventional drawing techniques, such as hatching, in new ways to represent shade and shadow. The layering of these hatching techniques may either enhance shadow, produce fake shadow (where shade is literally painted on) or flatten areas of the image in order to produce moments of ambiguity within each drawing.

    Projection: Projection in orthographic view is one of the techniques used to created the imagery. The projection of shade and shadow onto 3 Dimensional objects like a sphere or square give new insight to how we understand depth within a 2 Dimensional image. Animated projection was also used by projecting animated shadow movements onto a sectional relief model to produce and object whose depth is continuously changing and being altered.

    Geometry: The geometry was created on an outside first, inside second process. The outside geometry is meant to be a convex, multi-sided object that has been smoothed to remove any hard edges, much like a weathered rock. This produces a sort of Michael Meyers (Halloween mask) type effect. A single hard edge and sculpted cut out of the object gives it a point to be oriented against. Instances of shadow were then interpreted and painted on the outside to produce levels of ambiguity within the object, moments where you are unsure if geometry extends into darkness or brightness or if it stops short. The inside of the object is separated from the outside, rather than just an offset, these squares intersected by spheres allow us to understand the difference between a hard edge and a soft “edge” and how the projection of imagery can enhance or fake those moments.

    Hatching: Hatching was the primary technique used to interpret shade and shadow and is what helps tie the entire project together by giving a single direction to the hatching that is continuous throughout the project. Different densities of hatch help darken, lighten, flatten, or add contrast to each image and the single type of hatch in the same direction do not over clutter the composition. Diagonal structured components were used to enforce the direction of the imagery.

    The project is meant to explore new ways of understanding how designers create and read projects through orthographic images and the projection of imagery onto 3 dimensional objects. This project is about the drawing and how it can translate into other mediums.

    sP: What or who influenced this project?
    AS & DK: Much of the influence came from using a program called ZBrush by Pixologic. Most of the design work was done in Zbrush which is a program known for character design in video games. Its ability to sculpt geometry and paint imagery onto 3-D objects creates an entirely new discourse in architecture that is still undiscovered.

    sP: What were you reading/listening to/watching while developing this project?
    AS & DK: Reading Sylvia Lavin, Kissing Architecture; Pier Vittorio Aureli, The Possibility of an Absolute Architecture; Patrik Schumacher, The Autopoiesis of Architecture; Nicholas de Monchaux, Spacesuit: Fashioning Apollo.

    sP: Whose work is currently on your radar?
    AS & DK: Jimenez Lai, Sean Lally, and Thomas Kelly.

    Additional credits and links:

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