VOIDBARGLASSWAREComputer Graphics and Design

VOID BAR GLASSWARE

CONTENTSPAGEPAGETHREE.........................................DESIGNBRIEFPAGEFOUR..........................................ANALYSIS PAGEFIVE...........................................RESEARCHPAGESIX.............................................RESEARCHPAGESEVEN.........................................RESEARCHPAGEEIGHT..........................................RESEARCHPAGENINE...........................................RESEARCHPAGETEN............................................SKETCHESPAGEELEVEN........................................MODELSPAGETWELVE........................................MODELSPAGETHIRTEEN......................................MODELSPAGEFOURTEEN.....................................MODELSPAGEFIFTEEN........................................MODELS PAGESIXTEEN........................................ESSAYPLANPAGESEVENTEEN....................................ESSAYPAGEEIGHTEEN......................................ESSAYPAGENINETEEN......................................ESSAYPAGETWENTY........................................ESSAYPAGETWENTYONE..................................REVIEWPAGETWENTYTWO.................................REFERENCESPAGETWENTYTHREE...............................REFERENCESPAGETWENTYFOUR................................REFERENCESPAGETWENTYFIVE.................................REFERENCES

VOID BAR GLASSWARE

DESIGNBRIEFMy design company has been asked to create a design concept of a set of exotic glassware, to display in a cabinet behind the Void Bar at the Museum of New and Old Art, also known as MONA. Due to MONAʼs reputation to push boundaries and explore the unknown, the design concepts will need to be extravagant and original to fit with the already developed theme of MONA. Several glass deigns would be needed, each with a different design. A glass cabinet should be used to hold the design glassware so that it is on display but can also be easily accessed by hospitality workers at the museum.

THE VO ID BAR AT MONA (APPEND IX ONE)

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ANALYSISWHO:

§ Adults (18+) § Hospitality workers at MONA § Staff § Tourists § Visitors of the museum § Business men/women

WHAT:§ Glassware § Contemporary § Display § Attraction to the bar § Piece of art

WHEN:§ Special functions § Conference § Concert § Exhibition § During the hours that MONA is open

WHERE:§ Museum of Old and New Art (MONA) § Void bar § Hobart § Tasmania

WHY:§ To add a new attraction to MONA § To create a contemporary accessory to be used by visitors of the

Gallery § To add to MONAʼs ongoing theme of experimentation and reputation to

push boundaries

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RESEARCHAPPENDIXTWO:

§ Design based on the designerʼs country of origin. § Practical structure. § Apart of the Bombay Sapphire Gin Glass Competition. § Use of gold decorations to add to the overall design. § Martini Glass § The complex design can be uncomfortable to hold and drink from

APPENDIXTHREE:

§ Simple design § Use of crystal like shapes on the stem of the glass, this provides a sleek style for the glass. § The glasses shape replicates a shapes closer to a red wine glass instead of a martini glass.

APPENDIXFOUR:

§ Complicated design § Use of gold details § A natural theme § Fine detailing § Impractical design, detailed stem can make it difficult to use the glass.

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RESEARCHAPPENDIXFIVE:

§ Thin and delicate design on the base and stem of glass § Martini glass § Tree branch design § Too difficult to hold and could break easily if the user applies too much force.

APPENDIXSIX:

§ Example of several different glasses and the garnishes that can be used. § Short and round glasses tend to be more practical.

APPENDIXSEVEN:

§ Another example of a famous drink brand and their signature glass. § These are round but taller than the glasses shown above, these would be a simple and practical design.

APPENDIXEIGHT:

§ Example of some accessories that are associated with the glassware.

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RESEARCHAPPENDIXNINE:

§ A thin and tall stem. § Large round base § Round and delicate bowl § Fine and simple decals have been added and designed to match the bottle that the drink comes from. In this case, Bloom. §

APPENDIXTEN:

§ Decorative base, in the form of a spill or splash. § A thin stem § Large, flat and round bowl. § Highly impractical and could break easily

APPENDIXELEVEN:

§ Detailed design § Replicates the form of water § Curved and bent stem but gives space to hold the glass. § The design may be detailed and confusing but it can still be practical, giving the user space to hold the glass and it stands upright by itself.

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RESEARCHAPPENDIXTWELVE:

§ An example of the finalists in the Bombay Sapphire design competition. Each practical and completely original.

APPENDIXTHIRTEEN:

§ Simple yet impractical design. § Doesnʼt stand up by itself § Use of blue glass is effective when looking at the element and principles of design.

PRESENTATIONRESEARCH:When taking into consideration the presentation of my initial design concept, the use of a Dark Mofo or MONA television advertisement should be used. This carries along with the museums theme and concepts. These advertisements are often made using slides of images and several fades of black. This creates an intriguing and eerie feel and inspires the audience to visit the function or exhibition.

VOID BAR GLASSWARE

SKETCHES

(ABOVE:INITIALDESIGNSFORTHEFIRSTGLASSES)

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MODELSDESIGNONE:

For the first design, a round and simple design was use. Two different colours were tested and the purple option was chosen, this is because it makes it clear where it is decoration and where it is glass, but also it helps the design stray away from the glass blue idea that is usually associated with Bombay Sapphire Gin.

VOID BAR GLASSWARE

MODELS

When looking at the second glass desgin (As shown above) it is clear that a curved edge is added to provide comfort when using the glass and the rim on the top is on a diagonal angle. To continue the putple haze theme, experminetation was made with the glass being purple or clear. A final decision was made on clear glass and a purple backdrop. When added to the cabnet in MONA a purple patterned backdrop will be added to cater for any other clear glasses made. In this case the glass is rendered with a high amoutn of opacity and glossiness, experiemtations was made with these details and the new purple glass will be the one used in the final collection.

After doing further research into tutorials and how to create a more realistic glass texture, new rendered images were created, experiementation was made with relfectivity (Left image) and then was editted which then left a perfected version of the glass (Right image). This texture was created with the Arch and Design option in the texture panel. This creates serveral options to manage, these where then moved to suit the shape of the glass. The use of texture on the bench top surface need to be taken into consideration as well as the setting on the glass because the relflection is made by both factors.

VOID BAR GLASSWARE

MODELS

The use of a sandstone texure and dark bench top will be used to replicate the set location of the display. After each glass has been made, they will then be moves into the fianl design cabinet, to create the final rendered image.

PRESENTATIONMODELSThe following images are taken from my final presentation, these include the glassware, a scene made of the Void Bar and human models. These work together to add a sense of realism and the portray the message my work contains. The theme of the video made is to advertise for a new exhibition at MONA, to do this an advertisement was made which replicated the television ads made by MONA for other presentations at the facility.

VOID BAR GLASSWARE

MODELS

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MODELS

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ESSAYPLANINDUSTRYANALYSIS:SCULPTUREANDGLASSWAREINTRODUCT ION (P1) :

- Briefly mention all other aspects of the essay.

- What were the aims for your project stated in the design brief?

PARAGRAPH 2 (P2) :

- CAD as a design tool

- CAD history in my chosen industry

- CADʼs development in the industry

- When was CAD first used?

- Its use in the industry

PARAGRAPH 3 (P3) :

- Generations of CAD

- 5 generations, 1) Electric drawing board, 2) 3D modelling, 3) Visualisation, 4) Analysis, 5) Data and communication.

PARAGRAPH 4 (P4) :

- Industry examples relevant to my chosen industry.

- Select industry example, e.g. Canberra Glass.

- Mention other designers in the industry

PARAGRAPH 5 (P5) :

- CAD in the future

- Future of my concepts in their specialised industry (Glassware)

- Will sketching still be used?

- Future possibilities

CONCLUS ION (P6) :

- Summary of all points made

VOID BAR GLASSWARE

ESSAY Computer Aided Design has been a major step forward in the development of the future of the world and how products and structures are made. Along with the five generations of Computer Aided Design and the original programs and their progress, the world of sculpture has been shifted massively due to the modifications in Computer Aided Design. What wouldʼve have been a sketch or model is now a highly detailed digital model which can be printed out with three dimensional printing technology for both practical and artistic uses. The following points explain and suggest the past, present and future of Computer Aided Design and its place in the sculpture industry.

In 1951 digital images were first displayed on the vector scope, opening up the world of art and sculpture to new opportunities for a change in medium, this started the virtual art movement in the 1960ʼs. During this time a young engineer, Pierre Bezier formed the idea of a program which could create a curve, this was originally dismissed by his superior but was soon created, giving the computing world the Bezier Curve. Fellow engineers of Pierre Bezier soon adopted the program and continued to use a set of milling machines which were numerically controlled, to create shapes and curves. Many artists of the time lost sight of their goals and avoided using the new programs and systems putting the movement on hold. The movement restarted in the 1970ʼs which was the time when micro-computing and rapid prototyping technologies were combined, this advancement carried through until the 1990ʼs where several sculpture artists started the movement of digital sculpture art, they believed that the final product should be a three dimensional object or image, making their future endeavors a “full body experience” (noupe, 2011). This work continued forwards into the present day leaving the computer aided world with graphic artists such as Thomas Broadfoot, Thomas Mahler and Murray Kruger.

The electric drawing board is the first generation of Computer Aided Design, this is a neat, accurate and simple way to create a two dimensional image. This provides designers an opportunity to create detailed sketches of future sculptures and ensured that files could be

VOID BAR GLASSWARE shared with ease. The first example of this is was in 1963 when Ivan Sutherland, as a part of his PhD, designed a program called Sketchpad. This program allowed designers to draw on to the computers monitor and use techniques such as zooming and rubber-banding of lines. This breakthrough by Sutherland suggested that using Computer Aided Design is more efficient and reliable than manual drawing.

As well as the development of Sketchpad in the 1960ʼs, William Fetter formulated a program which could design an orthographic view of a human figure which was then used to increase the quality and efficiency of the inside of the cockpit of Boeingʼs airplanes. This was the beginning if the second generation of Computer Aided Design, three dimensional modeling. This showed the progression from two dimensional orthographic drawings to three dimensional computer generated designs and models. This introduced parametric solids and surface geometry such as NURBS and Polygonal modeling.

Once designers of the time mastered three dimensional modeling further research was done into visualization which is considered to be the third generation of Computer Aided Design. This developed opened up opportunities for designers to use photorealistic rendering, animation, biped animation and solar studies. Now that designers have investigated the visualization of Computer Aided Design, analysis of these features could be made and research into further progressions were done giving the presently used programs to the designers of today, this analysis included, plastic flow, strength, wind resistance, stress and force loading, mass calculations, the center of gravity and virtual testing through Finite Element Analysis, this is considered to be the fourth generation of Computer Aided Design

The fifth generation was surrounding the ideas of data and communications, this made sharing and saving files easier for the modern day designer and heightened the organization of files for designers. These five generations created a ease when looking at the function of programs and the relationship between a designer and their client, increasing the popularity of the graphic design industry.

Three artists who were majorly influenced by the adoption of Computer Aided Design are, Thomas Broadfoot, Thomas Mahler and Murray Kruger, each of these artists have varying styles and techniques but all use Computer Aided Design as their program of choice. Murray Kruger, born in

VOID BAR GLASSWARE South Africa in 1965, started his design work in the late 1908ʼs when Computer Aided Design was finally starting to take off in the world of art, this allowed Kruger to experiment with shapes, space and imagery.

“In 1986 I became interested in 3-D computer animation. I find the technology exciting and came to understand that it is a viable medium for my art. I now use software designed for animation as my primary vehicle for my imagery. Invented spaces and the stories that can evolve from them fascinate me.” (Kruger, 2011)

Another artist who specializes in digital sculpture is Thomas Broadfoot, who is a self-taught artists who focuses on creating his own textures, which majorly create a glass like texture, and portraying his ideas about politics, science and sci-fi.

Unlike Broadfoot, Thomas Mahler, a 26-year-old game developer, uses traditional sculpture ideas and techniques to create his images, sketching and model making is done before Mahlerʼs animations are made. According to several critics, Mahlerʼs use of traditional techniques adds an aspect of realism to his designs and his moved his further through his career, leading him to work with Blizzard, a game development company, on future video games and films.

In the present time, three dimensional printing is the newest technology to designers, this has allowed artists to create their ideas with ease then bring to life their image, Michael Rees, a contemporary sculptor from Kansas City, has been working in rapid prototyping companies for several years now and states that "Working in Computer Aided Design is closer to the thought of sculpture than any process imaginable. It is a language within which whatever one can describe, one can build. The ability to visualize complex structures within structures without the constraints of the properties of those objects is extraordinary. For example, I can't put a tomato inside of a rock and see them both, I can only imagine it. In Computer Aided Design, the tomato is in the rock." Rees believes that "the 3-D printers saved us one whole step.” (Rees, 2016)

When looking into the future plans and goals for digital sculpture advancements in technology and machines is guaranteed, this will broaden rapid prototyping, the process of creating a three dimensional model, horizons and open up opportunities to experiment with different materials and sizes, this could mean sculptures could experiment with

(KRUGER,2016)

(MAHLER,2016)

(BROADFOOT,2016)

VOID BAR GLASSWARE different densities and flexibilities. In the world of art, professional and self-taught digital artists are in demand, this means future students will be introduced to new programs and techniques, making room for the next generation of designers. Along with the adaptation of the techniques used, progress in the function of these designs will be made. This means the sculptures made with the new features could have future uses and inspire future artists and designers. New designs and ideas challenge the norm of what our designers live with today, and could being to define the future eras.

In conclusion, Computer Aided Design has made a major impact on artists and designers all over the world, from the technical drawing to three dimensional modeling designers can now access the Computer Aided Design they need to create their work and change the way viewers see the world. Computer Aided Design has moved quickly through its five generation and still has many more, continuing to provide designers with the programs and techniques they need to sculpt the future of the digital world.

VOID BAR GLASSWARE

REVIEWANDEVALUATIONAs a designer it is important that all parts of the design brief have been addressed. In this case, my company had been asked to design a set of glassware for MONAʼs famous Void Bar. This glassware would need to be exotic and contemporary, and several designs would be needed. As a designer all these requirements were covered, seven design concepts were made which included contemporary and artistic themes and were placed in a model of the site. Each glass was displayed on a stand which provided a display but also an easy access to the glasses which adds a practical element to the design.

When finalising the glass texture which was to be used on each model, several tutorials were used and the use of Arch & Design was used to add a sense of realism to each design. Serval attempts were made until the texture satisfied my companyʼs needs.

The use of sequential backing up prevented any loss of files and in the end stages of the project all the files could be collected. This lead to an overall successful project.

VOID BAR GLASSWARE

REFERENCESAppendix One: Mona.net.au. (2016). Mona » Void Bar. [online] Available at: http://www.mona.net.au/eat-and-drink/void-bar/ [Accessed 25 May 2016].

Appendix Two: Barchick.com. (2016). [online] Available at: http://www.barchick.com/wp-content/themes/barchick-v3/scripts/timthumb.php?src=/wp-content/uploads/2013/09/GIN.AND_.TONIC_.FEVER_.GLASSES.jpg&w=600&h=300 [Accessed 10 May 2016].

Appendix Three: Cdn.trendhunterstatic.com. (2016). [online] Available at: http://cdn.trendhunterstatic.com/thumbs/bombay-martini-glass-roots.jpeg [Accessed 9 May 2016].

Appendix Four: Cheshirelife.co.uk. (2016). [online] Available at: http://www.cheshirelife.co.uk/polopoly_fs/1.3707559!/image/image.jpg_gen/derivatives/landscape_490/image.jpg [Accessed 9 May 2016].

Appendix Five: Gourmetastic.com. (2016). [online] Available at: http://gourmetastic.com/wp-content/uploads/2014/11/gin-glasses.jpg [Accessed 10 May 2016].

Appendix Six: -media-cache-ak0.pinimg.com. (2016). [online] Available at: https://s-media-cache-ak0.pinimg.com/236x/9c/8f/cf/9c8fcf5f4010013eafddc9f85ac9ae6b.jpg [Accessed 10 May 2016].

Appendix Seven: Sltn.co.uk. (2016). [online] Available at: http://sltn.co.uk/wp-content/gallery/1012/10c_1012.jpg [Accessed 9 May 2016].

Appendix Eight: Img0101.psstatic.com. (2016). [online] Available at: http://img0101.psstatic.com/158190043_1994-ad-bombay-sapphire-martini-dry-gin-glass-crafted-by.jpg [Accessed 10 May 2016].

Appendix Nine: Logoboavida.goodlife.pt. (2016). [online] Available at: http://www.logoboavida.goodlife.pt/xms/img/528x270/1c33578e93861b7e8e22ac58fe4f6509/emM9VDMmcT04NiZmbHRyW109dXNt/JTJGTzNtJTJGLTBNM1pyU20lMkZmanVLUlNubSUyRnlvc05sLkEyYi5hJTJGUGhBUHdiYSUyRkJNN3NQTUpzJTJGTlhza25NSktNa1pGdHp0a0py.png [Accessed 10 May 2016].

VOID BAR GLASSWARE Appendix Ten: Aakkforever.org. (2016). Splash! : aakkforever. [online] Available at: http://www.aakkforever.org/index.php?/products/splash/ [Accessed 13 May 2016].

Appendix Eleven: S-media-cache-ak0.pinimg.com. (2016). [online] Available at: https://s-media-cache-ak0.pinimg.com/236x/c6/16/fc/c616fcf9e590cf5fc66c36fa481b2821.jpg [Accessed 13 May 2016].

Appendix Twelve: Yankodesign.com. (2016). [online] Available at: http://www.yankodesign.com/images/design_news/2009/06/08/pampilleglass.jpg [Accessed 13 May 2016].

Appendix Thirteen: S3images.coroflot.com. (2016). [online] Available at: http://s3images.coroflot.com/user_files/individual_files/34877_0OOibNtE0PqN1I1cAMRlsCQZJ.jpg [Accessed 13 May 2016].

Anon, (2016). [online] Available at: http://www.mona.net.au/media/16633/the_void.pdf [Accessed 22 Jul. 2016].

Mona.net.au. (2016). Mona. [online] Available at: http://www.mona.net.au/ [Accessed 22 Jul. 2016].

Mona.net.au. (2016). Mona » Venue Hire. [online] Available at: http://www.mona.net.au/venues/venuehire/#void [Accessed 22 Jul. 2016].

Anon, (2016). [online] Available at: http://www.mona.net.au/media/16633/the_void.pdf [Accessed 22 Jul. 2016].

Mb3d.co.uk. (2016). [online] Available at: http://www.mb3d.co.uk/mb3d/Wood_Seamless_and_Tileable_High_Res_Textures_files/wood_planks_03_1.jpg [Accessed 22 Jul. 2016].

Mona.net.au. (2016). Mona. [online] Available at: http://www.mona.net.au/ [Accessed 22 Jul. 2016].

Mona.net.au. (2016). Mona » Venue Hire. [online] Available at: http://www.mona.net.au/venues/venuehire/#void [Accessed 22 Jul. 2016].

Canberra Glassworks. (2016). Shop. [online] Available at: http://www.canberraglassworks.com/visit/shop/ [Accessed 26 Jul. 2016].

Canberra Glassworks. (2016). Canberra Glassworks. [online] Available at: http://www.canberraglassworks.com/ [Accessed 26 Jul. 2016].

Darkmofo.net.au. (2016). Dark Mofo 2017. [online] Available at: https://www.darkmofo.net.au/ [Accessed 29 Jul. 2016].

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VOID BAR GLASSWARE History-computer.com. (2016). History of Computers and Computing, Birth of the modern computer, Software history, Sketchpad of Ivan Sutherland. [online] Available at: http://history-computer.com/ModernComputer/Software/Sketchpad.html [Accessed 25 Aug. 2016].

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