Preserving Local Ornament Through Algorithm

This study employs fractal algorithms to generate and transform original Aceh ornaments into architectural design elements. The interpretation and generation of this ornaments by fractal method uses L-system based software called jBatik. We studied an approach of preserving local ornaments using three stages: understanding the local ornament geometry function, interpreting and generating new ornament using fractal method, exploring the possible iterations of patterns based on fractal algorithms. We applied this process into architectural design experiments where the 3D patterns used as an architectural design elements. The result shows that the possibility of preserving local ornament by fractal method can open opportunity for architects to explore new approach in design using the iteration and transformation of local ornaments. The endless possibilities offered by fractal method for generating new ornaments justify the digital advancement for its preservation

Computational Batik Motif Generation: Innovation of Traditional Heritage by Fractal Computation\ud

Human-computer interaction has been the cause of the emerging innovations in many fields, including in design and art, architectural, technological artifacts, and even traditional heritage. In the case of Indonesian traditional heritages, the computation of fractal designs has been introduced to develop batik design – the genuine textile art and skill that becomes a symbol of Indonesian culture. The uniqueness of Batik, which depicted in the richness of its motifs, is regarded as one of interesting aspect to be researched and innovated using computational techniques. Recent studies of batik motifs have discovered conjecture to the existence of fractal geometry in batik designs. This finding has given some inspiration of implementing certain fractal concepts, such escape-time fractal (complex plane) and iterated function system to generate batik motifs. We develop motif generator based upon the Collage Theorem by using Java TM platform. This software is equipped by interface that can be used by user to generate basic patterns, which could be interpreted and painted as batik motif. Experimentally, we found that computationally generated fractal motifs are appropriated to be implemented as batik motif. However, human made batik motifs are less detail and some of them differ significantly with the computationally generated ones for tools used to draw batik and human aesthetic constraints

Design of decorative 3D models: from geodesic ornaments to tangible assemblies

L'obiettivo di questa tesi è sviluppare strumenti utili per creare opere d'arte decorative digitali in 3D. Uno dei processi decorativi più comunemente usati prevede la creazione di pattern decorativi, al fine di abbellire gli oggetti. Questi pattern possono essere dipinti sull'oggetto di base o realizzati con l'applicazione di piccoli elementi decorativi. Tuttavia, la loro realizzazione nei media digitali non è banale. Da un lato, gli utenti esperti possono eseguire manualmente la pittura delle texture o scolpire ogni decorazione, ma questo processo può richiedere ore per produrre un singolo pezzo e deve essere ripetuto da zero per ogni modello da decorare. D'altra parte, gli approcci automatici allo stato dell'arte si basano sull'approssimazione di questi processi con texturing basato su esempi o texturing procedurale, o con sistemi di riproiezione 3D. Tuttavia, questi approcci possono introdurre importanti limiti nei modelli utilizzabili e nella qualità dei risultati. Il nostro lavoro sfrutta invece i recenti progressi e miglioramenti delle prestazioni nel campo dell'elaborazione geometrica per creare modelli decorativi direttamente sulle superfici. Presentiamo una pipeline per i pattern 2D e una per quelli 3D, e dimostriamo come ognuna di esse possa ricreare una vasta gamma di risultati con minime modifiche dei parametri. Inoltre, studiamo la possibilità di creare modelli decorativi tangibili. I pattern 3D generati possono essere stampati in 3D e applicati a oggetti realmente esistenti precedentemente scansionati. Discutiamo anche la creazione di modelli con mattoncini da costruzione, e la possibilità di mescolare mattoncini standard e mattoncini custom stampati in 3D. Ciò consente una rappresentazione precisa indipendentemente da quanto la voxelizzazione sia approssimativa. I principali contributi di questa tesi sono l'implementazione di due diverse pipeline decorative, un approccio euristico alla costruzione con mattoncini e un dataset per testare quest'ultimo.The aim of this thesis is to develop effective tools to create digital decorative 3D artworks. Real-world art often involves the use of decorative patterns to enrich objects. These patterns can be painted on the base or might be realized with the application of small decorative elements. However, their creation in digital media is not trivial. On the one hand, users can manually perform texture paint or sculpt each decoration, in a process that can take hours to produce a single piece and needs to be repeated from the ground up for every model that needs to be decorated. On the other hand, automatic approaches in state of the art rely on approximating these processes with procedural or by-example texturing or with 3D reprojection. However, these approaches can introduce significant limitations in the models that can be used and in the quality of the results. Instead, our work exploits the recent advances and performance improvements in the geometry processing field to create decorative patterns directly on surfaces. We present a pipeline for 2D and one for 3D patterns and demonstrate how each of them can recreate a variety of results with minimal tweaking of the parameters. Furthermore, we investigate the possibility of creating decorative tangible models. The 3D patterns we generate can be 3D printed and applied to previously scanned real-world objects. We also discuss the creation of models with standard building bricks and the possibility of mixing standard and custom 3D-printed bricks. This allows for a precise representation regardless of the coarseness of the voxelization. The main contributions of this thesis are the implementation of two different decorative pipelines, a heuristic approach to brick construction, and a dataset to test the latter

Purl.

‘Purl' was co-curated by Mullaniff and Jane Langley in consultation with Gill Saunders, Curator of wallpaper and Textiles at the V&A and developed from an AHRC funded exhibition, ‘Loop' (Bankfield Museum of Textile History, Halifax, 2002). Located in the galleries of the Museum of Domestic Architecture (Middlesex University), ‘Purl' investigated the history of exchange between art and textile design, including three artists working with American textile traditions (Michelle Grabner, Michelle Charles, Laurie Addis) and three UK-based artists (Langley, Mullaniff and Jennifer Wright) responding to MoDA's domestic design archive. Mullaniff contributed two paintings, a soft sculpture using digital print on silk and eight drawings, under the collective title ‘Imprint Rosefoxglove', referencing floral patterns in MoDA's Silver Studio textile collection. ‘Imprint Rosefoxglove' drew on Mullaniff's research into the contemporary reinterpretation of textile motifs held in historical archives as a means of creating greater understanding of the way the past continued to shape and inform the visual languages of the present. A fully illustrated catalogue, Purl [ISBN 0954805100], accompanied the exhibition, with an introduction by Gill Saunders, Curator of Wallpaper and Textiles at the V&A Museum. A series of seminars on issues raised by ‘Purl' was held at both MoDA and at the Constance Howard Resource and Research Centre in Textiles, Goldsmiths College. ‘Purl', funded by AHRC, UCE Birmingham and the Heritage Lottery Fund, was reviewed by Dr Catherine Harper in Selvedge, no.1, July/Aug, 2004. ‘Purl' led to the formation of the Pattern Lab, centred on researching the expanded field of art and textile design, co-directed by Mullaniff, Langley and Wright. Mullaniff was also invited to address the conferences 'Lacking in Discipline', Manchester Metropolitan University, 2007, and ‘Touch, Textile, Technology: Collaboration across Europe', Goldsmiths College, 2007. http://www.thepatternlab.com/previous_exhibitions/purl/ http://www.goldsmiths.ac.uk/constance-howard/events-news/ttt.php http://www.moda.mdx.ac.uk

Crossover Logics

As more and more of modern life is measured and calculated by computational machines, our realities are flattened into streams of data, bits, and binary. As a graphic designer operating under societal and technological systems that unrelentingly speed up, simplify, and reduce the individual into a digital form legible to machines, my response to these conditions is to search for moments of imagination, poetry, and play within these structures. In my practice, I pair machined forms with human gestures to bridge the duality between computer and human logics, the rational and the emotional, and the measurable and unmeasurable aspects of human experience. Crossover Logics documents my explorations at the edges of the schematic, the linguistic, and the coded, using and subverting these rational, conventional systems of communication to give form to personal experience and thought. Rather than reject the technological, I leverage technology to make work that is generative, with a multiplicity of meanings. Crossing between these seemingly opposite tendencies, I create patterns and structures that combine into alternative maps, diagrams, and systems that generate a poetic friction between the hard instrumentality of data logic and the intimacy of internal logic

Development of graphic symbols based on tropical plant images in decorative tiles production

The most important aspect of choosing tile is the pattern design. Therefore the importance of focusing the production process in design has become crucial. The biological, physical and visual aspects of environment influence life philosophy, culture, society, tradition and creativity development. In the production of design symbols, it is evident that there is lack of focus and assessment given to the production process compared to that of the end product. The importance of the transformation process is emphasized by Wallschlaeger and Cynthia Busic-Synder who believe that the problem solving processes are shown to illustrate how the process can be altered for use in solving specific types of problem in design. Therefore, the objectives of this research are to determine the significance of systematic design process and ideas transformation in the development of graphic symbol. This study explores the relationship between tiles production and its pattern within an activity theory framework, focusing on data collected using questionnaires survey from selected universities in Peninsular Malaysia and interviews at Design Department of selected manufacture in Peninsular Malaysia. At the conclusion of this paper, a design criteria and analysis of system will be developed before production process of decorative tiles design from tropical plants image

Employing Pythagorean Hodograph curves for artistic patterns

In this paper we present a novel design element creator tool for the digital artist. The purpose of our tool is to support the creation of vines, swirls, swooshes and floral components. To create visually pleasing and gentle curves we employ Pythagorean Hodograph quintic spiral curves to join a hierarchy of control circles defined by the user. The control circles are joined by spiral segments with at least G2 continuity, ensuring smooth and seamless transitions. The control circles give the user a fast and intuitive way to define the desired curve. The resulting curves can be exported as cubic Bezier curves for further use in vector graphics applications

Spatial and topology feature extraction on batik pattern recognition: a review

Abstract. Batik is an Indonesian cultural heritage that has been recognized by UNESCO as an international cultural heritage on October 2, 2009. Patterns of batik produce geometric shapes unique, the number and name of the batik patterns make it difficult to recognize each motif. The objective classification of batik is split image into classes according to the pattern motif motive so easy to recognize in accordance with its feature. Batik can be classified based on the shape of the motive, namely geometric motifs, geometric motifs and motifs non specific. Spatial information is an important aspect of image processing such as computer vision and recognition structure / pattern in the context of modelling and resolution of the uncertainty caused by the ambiguity in the low-level features. Shortcomings inherent in combining two colours and spatial features are not adaptive pattern recognition process of the region across multiple images and histogram matching is not appropriate to capture the colours on the image content. This study discussed a model of spatial features and feature combinations topology with the aim to improve the validation batik image pattern recognition so that the level of the pattern recognition motif batik image could be better. Some of the features that have been used include colour features and spatial features. In addition, this paper discusses the possibility of combining the features in pattern recognition. This paper proposes a combination of features that will be able to improve the validation of image pattern recognition of batik