For all those origami lovers!

I found this cool website that shows “how to make different origami pieces” step-by-step. whether you like to make origami shapes of fruits or birds or traditional designs..this is the place for you 😉

http://en.origami-club.com//

Join the Club today 🙂

Generative Recipes

So I was checking out generative art web sites for our upcoming game (touch wood!) and I stumbled across this neat random recipe generator site (also available as App). Can’t vouch for how good they are (try it yourself at your own risk / try it out on a roommate 😉 ), but it’s an interesting concept. Now if only browsers could output tastes as well so you could sample it instantly… (Note to self: Idea for killer invention!)

LINK: http://jamesoff.net/site/fun/random-recipe-generator/

Origami:A science with many applications

Origami is the traditional technique of Japanese paper folding. Modern science agrees there’s a lot they couldn’t do with out this ancient art form. Innovations developed in pursuit of the art find application in multiple fields, including applied mathematics and engineering. One application is the use of folding algorithms to pack air bags

Can a piece of paper save your life? You probably don’t know one modern invention was derived from the science of origami, the ancient art of paper folding. “Science, technology, space, automotive, medicine — all these different fields have benefited from origami. Believable?  How can folding papers have these effects?

“There has been some testing that shows that after students have done origami, that they have a higher appreciation or understanding of various mathematical geometric concepts.It’s an ancient science that uses mathematics for modern day miracles. The twists and bends in an origami turtle may just make their way into your cell phone’s circuit board. And how can a paper scorpion actually save your life? The origami algorithms used to fold bugs are the same ones behind the invention of the air bags in our car.

An algorithm that origami artists had come up with for the design of insects was the right algorithm to give the creases for flattening an airbag. So that has now been adopted into airbag simulation code, and presumably automotive engineers are now using those codes to design airbags.Cal Tech says the applications are endless. From consumer programs to the space program, the options have yet to unfold.

How are comics a metaphor for screen interfaces, whether that’s games, multimedia, or the Web?

I started reading the books ‘Understanding Comics’ & ‘Reinventing Comics’ as part of my masters project on designing comics. I found that the book became relevant not only to that world, but first to interface design, then to web design, then to game design. And as I talked to more and more people , I found basically that I was becoming very interested in it and that people in their respective fields were becoming interested in the book. The great irony of course is that Understanding Comics doesn’t mention computers once.

When I wanted to know more I came across a video of  2 hour long interview from 2002. Here’s an excerpt of interview witth Scott McCloud .

McCloud: Most people’s ideas of how the book was relevant to digital media weren’t the same ideas as mine. They focused on certain chapters of the book dealing with the ways we process certain imagery. For instance, in chapter two I talk about the combination of very cartoony characters in very realistic environments. This was an idea that a fellow named Bumgardner picked up and created a chat interface called The Palace. He’s been quoted as saying that pretty much came from an idea in Understanding Comics.

It’s strange, that wasn’t really where my focus was. My focus was back at the beginning of the book where I talk about definition. I was interested in finding out how comics would evolve in a digital environment. And I was finding some very exciting stuff when you take that idea of comics and drop it into a new petri dish.

But this wasn’t what people were picking up from the book. They were talking about the nature of cartoons, and they were talking about the combination of words and pictures. That one comes up a lot. And they were comparing the experience of surfing the Web to the alchemy that occurs between the panels.

Sims: I recently had an experience where I was trying to explain a Sunday comic to my 3-year-old daughter, and it was a two-row Sunday comic. And I understand where the geography was when someone on the lower panel looked to the left and they were actually looking at something that in the layout of the page is in the upper right. But it did take some time to explain it to someone 3 years old. And it made me think that there’s some complicity between the comics and a reader, that we’re going to start at a baseline, that you’re going to understand this much, then I don’t have to explain it to you again.

McCloud: Yes, it is a deeply collaborative art, even for a very sophisticated user. It still requires a much more conscious participation than, say, film. Film also requires a series of still images, but we string those images together involuntarily. Even somebody who is not at all sophisticated in film will still see that motion.

Whereas somebody who isn’t steeped in the protocol of comics, will approach that page as a collection of still images until they understand that as you move across that page, you’re actually moving through time.

What’s interesting is that printed comics require a fairly sophisticated protocol. They operate on this idea that as you move left to right or up to down, you’re moving forward in time.

But you have to actually have a pretty sophisticated notion of when to go down, when to go to the right. The panels are all sort of jumbled together. And it’s easy when you’re looking at the Sunday page. When you’re looking at a lot of modern comics, though, the panels are in almost a jigsaw puzzle fashion, and you have to have a pretty complex understanding of where to go next.

The funny thing is that in studying comics as this simple idea of sequential art. I found that there were a lot of comics that predate print. Of course, obviously not called comics. But, if you take comics as this idea of placing one image after another to tell a story, a kind of temporal map, really, that as you’re moving across the space you’re moving through time and using that to tell some sort of story, you can actually find examples of that going back. …

Sims: The Bayeux Tapestry.

McCloud: The Bayeux Tapestry, Trajan’s Column, certain Egyptian wall paintings, not hieroglyphics—people often misunderstand me there, I’m not saying hieroglyphics are comics—and pre-Columbian picture manuscripts are very much comics. And the more you look at them and actually read the things, you can see that they’re using the exact same visual language. The only things missing are really quite superficial, things like rectangular panel borders and word balloons—although even word balloons go back hundreds of years. But the funny thing is that the complex reading protocol that print demands from us in comics is absent in all the pre-print versions. Because in all these proto-comics, these ancient comics, the idea was much, much simpler than that. Just that whatever moment you were on in time, the next moment was right next to it. You mentioned the Bayeux Tapestry, that’s just one long straight line. Trajan’s Column, you move in a spiral up that stone column. In pre-Columbian picture manuscripts, it’s a little jumbled, but what you actually do is move in a backward zigzag, all the way back through this long screenfold, really something like a mural, although it can be folded like a book.

They approached this simple idea of sequential art with a very open-minded and simple approach of simply saying, if space equals time, then the more time you need, the more space you give it. So Trajan’s Column, if you wanted to tell a story ten times as long, you’d need a column ten times as high. Or the Bayeux Tapestry would have to stretch all the way across Europe if you wanted to tell a story that long.

But there’s a limitation to physical matter. There’s not a limitation to the length of these constructs in a digital space. And you can actually reclaim some of that magic from pre-print comics in a digital space, get the best of both worlds. Because I think in some ways we actually betray the strength of comics when we chop it up, slice it, and dice it to fit into these flat and rectangular wood pulps we call books. I think in some ways we’ve actually done the idea of comics a disservice by cutting them to fit.

<FIN>

Typoflat – experimental typefaces & then some

I came across this website when one of my hipster friend insisted that I take a look at it. (I would mention his name, but you’ve probably never heard of him). TypoFlat is a personal & experimental project of designer Branislav S. Cirkovic ( www.b-cirk.com). In his own words,  The idea of TypoFlat  is to have this free flow of creation where no clients or money are involved, just a pure passion for creation and form experimentation. Now that we have the official statement, Its time to rant about why i like this particular website and how it relates. This experimental project is an attempt to validate an idea which emphasizes one view on creativity. The idea of creation as a free flow process without secondary or external constraints. This is also resonates in one of McCloud’s famous quote: “Art, as I see it, is any human activity which doesn’t grow out of either of our species’ two basic instincts: survival and reproduction

I wish Mr.Cirkovic all the very best.