Month: November 2023

Moving image = Codec: H.264 (high bitrate), 16:9 Aspect Ratio, 1920×1080, 25fps.

Title: Drip, drown

Overview: Drip, drown is an experimental visual project. The project is a response to Frida’s work What the water gave me (1938).

Based on iconographic theories as well as formal examples and metaphors, I transform the meanings behind the symbols into an imaginary space where abstract expressions can take place.

By deconstructing the symbols in Frida’s works, using digital art and technology as the medium and tools, combining individual experience and recreating the works in an abstract and imaginative way, I attempt to explore and expand the artistic possibilities of digital media.

The engagement of individual imaginations can create dramatically different visual effects, and symbols are the language of the imaginations themselves. Water is the central symbol that runs through my project, and I try to create a calm yet powerful, lonely yet hopeful sensory experience – the similar feeling that Frida’s paintings bring to my mind.

( include all the pre-production content, the progress of your project along with workflows, what problems you faced, how you overcame them, and a critical reflection at the end. )

Background info

Drip, Drown is a visual project rooted in theoretical research, my theoretical research focuses on the exploration of symbolism and abstraction in Frida Kahlo’s art, using the study of symbols along with formal similes and instances as a foundation. The aim is to delve into how symbols, when combined with formal elements, transform into imaginative spaces, providing a platform for abstract expression. The process involves examining the transition from figurative to imaginative painting, with a subsequent extension into the realms of moving images and visual effects through the exploration of imagination and abstraction. In parallel, my visual project involves the recreation of “What the Water Gave Me” using 3D and visual effects, evoking profound waves of emotions within me. With its dual nature of calmness and power, water serves as a symbolic element. By symbolically recreating water and intertwining it with the ineffable embodied experiences, I aim to resonate with and respond to the emotions conveyed by Frida Kahlo. This visual project becomes a means to translate emotions into a tangible form, aligning with my research’s theoretical exploration of symbolism and abstraction.

Available at: https://www.fridakahlo.org/what-the-water-gave-me.jsp#prettyPhoto

Looking Visual Inspiration and References

I primarily seek inspiration and references for my work in three main places. Firstly, online and offline art museums and galleries serve as rich sources where I can explore diverse works across various mediums such as painting, photography, and installations. These experiences greatly influence my understanding of elements like color, composition, and form, which are crucial in the realm of visual effects.

Secondly, I turn to Instagram for inspiration from digital artists. This platform allows me to study the creations of artists specializing in digital mediums, providing insights into specific techniques and styles relevant to my field.

Thirdly, in my everyday life, I make a habit of capturing spontaneous moments that may serve as potential elements in my work. This includes documenting scenes or details that catch my eye, such as unique plant textures or moss on stones.

Exploring more possibilities and imagination related to water

Several artists and visual studios have been a rich source of visual inspiration for me. Their works, characterized by their unconventional and, at times, abstract nature, are imbued with a captivating aesthetic.

XKstudio: https://xk.studio

Jimlinear: https://jimlinear.com

Ins@Kushlet

Mikaelastafford: https://www.mikaelastafford.com/work

Production process

models

Water is a significant symbol in my works. I like to construct objects by leveraging the characteristics of water/liquid.

In the creation of water droplets, I experimented with various techniques. I attempted to incorporate a path for the water droplets, allowing them to flow within a sphere. I also explored rigid body collisions to direct the water along the orientation of the object. However, to align with the desired visual effect in my composition, I ultimately opted for an animation portraying the aggregation of small water droplets.

When creating the main object, I aimed to create an organic object with an irregular shape reminiscent of coral or stone, I initially utilized fluid simulation techniques in Houdini to generate a preliminary shape. Subsequently, I imported it into ZBrush for sculpting, gradually shaping it into the ideal shape.

The next step involved animating blossoms on the main object. I initially created a single blooming flower and experimented with attaching water droplets. However, I found it somewhat intricate, so I decided to omit the water droplets and retained only the animation of the flower unfolding.

I attached the flowers to the main subject by scattering 300 points randomly across its surface. Each point was randomly oriented, and then replaced with a flower. Flowers were chosen because of their ability to be positioned randomly and extend in different directions. The timing of the blossoming presented a challenge,I didn’t want all the flowers to bloom simultaneously. Therefore, I divided the 300 points into 6 groups, allowing them to bloom at different times and speeds.

The aquatic creatures around the main object were modelled based on the appearance of sea urchins. I added a swaying effect to make them appear more organic. Since this model lacked intricate details, I used it primarily for decorative purposes.

Water plants are essentially similar in type to the aquatic creatures mentioned earlier. However, it needs to be noted that when the water plants sway, the points at the roots need to be fixed to prevent the leaves from intersecting.

Texture and materials

The overall colour underwent multiple adjustments, and in the end, a predominantly low-saturation blue-green hue was chosen. This colour palette aligns well with the tranquil yet powerful feeling I aimed to convey. For the main subject, I drew inspiration from the texture of a blue crab, incorporating gradient effects. The metallic blue petals serve to distinguish themselves from the background.

Some adjustments process:

Fur

Adding fur details is one of the ways to enrich the intricate details; I like incorporating some fur details on objects, as it brings vibrancy and vitality to them.

Lighting and camera movement.

In terms of lighting distribution, I arranged various light sources around, including point lights, area lights, and spotlights, along with a mobile light source. Additionally, within the scene, I incorporated some self-illuminating spheres as accents, resembling underwater lighting fixtures.

Regarding camera movement, I first keyframed the frames on the details I wanted to highlight, and then connected them. In the animation editor, it’s essential to ensure that the motion curves are smooth to avoid a shaky feeling.

Post-production

Completed in NUKE, my focus was primarily on two aspects – color grading and compositing. For color grading, I utilized the cryptomatte node to individually adjust the colors of objects by extracting them from the multi-channel EXR. The second aspect involved various post-production compositing tasks, including merging particle elements and adding atmospheric effects to the scene.

Before

After

Workflow

In the end, I used Adobe Premiere (PR) to composite the music and applied some simple edge blurring effects before exporting the final composition.

The above is the basic production process of this project.

Critical reflection

This project represents a new endeavor for me as I explore an abstract approach to recreate works, aiming to broaden the scope of artistic possibilities within the digital medium.

Throughout the entire project, I initially recognized the need to add various elements to enrich the visuals. However, as the project progressed, I found myself consistently engaged in subtractive processes, eliminating unnecessary elements to discover the most harmonious approach and create a cohesive composition. This iterative process prompted me to conduct further research, delving into the intricacies of composition in films and short films. While these subtle differences may not always be readily perceived or universally significant, I believe that, whether an artist or creator, stringent control over details is imperative.

Due to time constraints, the work is not currently in the state I find most satisfactory. I aspire to enhance the intricacies of both animation and rendering, refine materials, and adjust the overall ambiance, recognizing there is ample room for improvement. However, the Final Major Project signifies not only a conclusion but also a new beginning. Whether in the realms of art or visual effects, there are numerous aspects worth exploring, and I am committed to continuing the application of what I’ve learned in future endeavors.

Throughout this year of study, my most significant takeaway has been the integration of practical knowledge with theoretical understanding. This fusion has not only filled experimental projects with surprises but also ensured they align with logical reasoning.