Upda%ng tradi%onal hand made ar%s%c industry with an adap ... · In the design process of an artefact, the role of color has always been ambiguous (Batchelor, 2000), both for the

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Upda%ngtradi%onalhandmadear%s%cindustrywithanadap%ve-genera%veapproach.

Actualizacióndelaindustriaar0s1catradicionalhechaamanoconunenfoqueadapta1vo-genera1vo.

Roma,A.Scarcelli,A.

Poliba-PolitecnicodiBariPoliba-PolitecnicodiBari

Re1radode:h4p://convergencias.esart.ipcb.pt

1.Introduc%onParallel to the history of the industrial product, developed through the defini7on of principles of useful form, serial produc7on, ergonomics, etc., theindustrializa7onof the produc7onprocesses and the evolu7onof the tools for the realiza7on, in the a;ermathof the second industrial revolu7on, haveplayedacrucialrolealsointhefieldsofthear7s7cindustry.Evidenceofthisistheculturaldebateofthelatenineteenthcentury,centredontherela7onshipthatartandtechniqueestablishinrela7ontothetheoriesthatpertaintotheform,colour,methodsandtechniquesofproduc7on.Thedevelopmentofthetechnical-crea7vetoolsandoftheprototypinganddigitalproduc7onsystemscreatesinthecomputerizedlogicanewrela7onbetweenprojecttheoryandproduc7onandreproduc7onprac7ces(DiRoma,2008):thetechniquenolongerresidesexclusivelyinthefinishedobject,butinitsconcep7onpre-formal.Infact, themanagementof formandcolour in theancientart industrydidnotassumemedia7onbetween thedesignphaseand the realiza7onphase; theauthorof theconforma7onof theproducto;en iden7fiedhimselfwiththosewhotechnicallycarriedout itsproduc7on.Thedivision intophases,alreadywithin thedevelopmentof theserialprocessesof realiza7onof thear7s7c industry,hasmade itnecessary toelaborategeometricmodels tosupport thetransmissibilityoftheideatothedifferentmaterialperformers.Digital modellers, who in the last twenty years have made possible the so-called digital revolu7on as a ques7on related to the representa7on andcommunica7onoftheproject,throughitsvirtualres7tu7on,todayassumeacentralroleintheprefigura7onprocessofthear7fact,asdemonstratetechnical-formalcontroltoolsabletosynthe7callymanageallthemainphasesofconcep7onandprototyping,providingkeydecision-makingfortheop7miza7onoftheformand its realiza7onprocess. Thegeometricdefini7onof shapeand colour values, togetherwith the implementa7onsofparametric so;wareand thegenera7velogicofsomecadandrasterapplica7ons,favourthedevelopmentofnewformalexpressions;theidea7onprocessthusbecomes«unveroepropriosistemadiinformazioni:informazioneculturaledelprodoQo,informazionesulsuouso,informazionelinguis7caeinformazionevisiva».(Branzi,1984,p.117).

2.ProblemThetransla7onoftheidealformintoatechnicalmaterialformwithinthear7s7cindustryhasalwaysbeenexpressedthroughtheuseoftoolsabletorealizetheconceptualmodelandmakethecra;sman'sgesturerepeatableintheseriesofobjectstobereproduced,adap7ngfrom7meto7metheidealmodelto

ABSTRACT: The paper aims at demonstrate the adap7ve value of thedigital cra;s, regarding design and realiza7on methods. In order toachieve some outcomes from a prac7cal approach, some experimentsaredescribed. Thediscussion focuseson the rela7onshipbetween theparametric tools suppor7ng the design process, (devoted to tex7ledesignand colour theory) and theaesthe7cal and technical outcomes.Thetypicalwayinwhichthecra;sman"makes"-basedontheinformaltransfer ofmodels to produc7on - shares the adap7ve and repeatableapproachoftheparametricdesign.Therefore,throughthespecifica7onsofthematerials,thetechniquesandtherealiza7ontools,theseamlessprocessisachieved.

KEYWORDS: Ar7s7c industry, parametric design, parametric colour,digitaldesign,digitalcra;

RESUMEN: El documento 7ene como obje7vo demostrar el valoradapta7vodelaartesaníadigital,conrespectoalosmétodosdediseñoyrealización.Paralograralgunosresultadosdesdeunenfoqueprác7co,sedescribenalgunosexperimentos.Ladiscusiónsecentraenlarelaciónentrelasherramientasparamétricasquerespaldanelprocesodediseño(dedicadoaldiseñotex7lylateoríadelcolor)ylosresultadosesté7cosytécnicos. La forma jpica en que el artesano "hace" - basado en latransferencia informal de modelos a la producción - comparte elenfoque adapta7vo y repe7ble del diseñoparamétrico. Por lo tanto, através de las especificaciones de los materiales, las técnicas y lasherramientasderealización,selograelprocesocon7nuo.

PALABRAS-CLAVE:Diseñoparamétrico,colorparamétrico,diseñodigital,artedigital



thecontextualneedsofspecificsizingorfunc7onality(DiRoma,2016).Atthebaseoftheinformalprocessofinterac7onbetweenidea7onandproduc7onwasthemathema7calmodelthatmanagedthepropor7onbetweentheparts, the varia7on of the rays and the con7nuity of tangency of the curves, the symmetry groups of the plane. It is no coincidence that in the field ofornamentalart(Carboni,2000,p.79)thedifferenthistoricalciviliza7onshaveexpressedthelanguageonthebasisoftheirownmathema7calcode.Ontheinstrumentalleveltheques7onoftechnicalreproducibilityischaracterizedbytheuseofshapes,models,seals(ofrepertoireordesignedadhocbythesamearchitectofthework)necessaryforthetransferofthe"form";orfromthosemechanicalaids(suchasthelathe,thedrillandthewheelsofthepoQers)usefulforthemassproduc7onprocess(Benjamin,1955,p.20).Thisminglingbetweenthepossessionofthemathema7calmodelandtheknowledgeofhowtoproduceisatthebasisofthefreedomofar7s7cwill(Riegl,1893;Focillon,1939;Panofsky,1961)andexpressesitselfthroughtheextremeflexibilityoftheproduc7onmethodsofthear7s7cindustry.Inreferencetotheaesthe7cinten7onofthear7san-ar7st,Hauserstatesthat"thetechnicalsolu7onisitselfpartorvariantofthevisualaesthe7csolu7on"(Hauser, 1978, p.95). Therefore, the instrumental technical evolu7onof contemporaneity, in the digital field, favours a new rela7onship between art andtechnique,between formal idea7onandrealiza7on, re-enac7ngthoseprocessesof limitedcra;series, interrupted in theirmillennial tradi7onby industry(Branzi,2008,pp.10-11),withintheso-called2.0cra;.

3.Methodology-ParametricDesigndigitalcraAThegenera7vemodelling,thankstothecontribu7onofcoding,hasgivengreatdevelopmenttothethemeofthenewdesignconceptandtothesamedigitalcra;smanship. This new modelling process has the characteris7c of approaching computer programming, but with an easy approach thanks to visualcomponents. The systemallows to implement thenormalopera7onsof genera7on, transforma7onandeven substan7alevolu7onof themodels throughreversibleprocesses,preservingthememoryoftheoriginalgeometries.Algorithmsallowdesignerstoovercomethelimita7onsof'tradi7onal'so;wareandachieveamuchhigherlevelofcomplexityandcontrol.Inthealgorithmicmodellingtheuserhasthepossibilitytocreatethree-dimensionalobjectsthroughthedescrip7onofthesystemofrela7onsatthebaseofanycomplexgeometry.Thisdescrip7ontakesplacethroughthedevelopmentofanodediagram(visualalgorithm)accordingtoanassocia7velogic,withinspecificeditorsthatoperateinparallelwiththemodellingso;ware.Thereforewhatismanipulatedisnottheobject,butitsconstruc7onprocessanditsdata.Thealgorithmicmodellingtoolsallowthegenera7onandcontrolofcomplexshapesatanyscale:fromarchitecturetodesign.Theparametricdesignsystemsare dynamic modifiable in real 7me, through the varia7on of the parameters defined during the construc7on of the diagram: this leads to immediateadvantagesinrela7ontoformalexplora7on,controlandra7onaliza7onoftheshape.

3.1Methodology-Colorparametricdesign

3.1.1.Colorparametricdesign

Inthedesignprocessofanartefact,theroleofcolorhasalwaysbeenambiguous(Batchelor,2000),bothforthecomplexityofaveryelaboratetheory,andforthe instrumental difficulty in iden7fying and accurately repor7ng the selected colors. In tradi7onal produc7on processes (Scarcelli, 2016), following thedevelopmentof thedyeschemical industry, thear7sanchooses thecolorvaria7onsofhisproduct froma rangeofdyes (oralreadycoloredsemi-finishedproducts)withinacommercialcatalog;eventhedesignerhasthesamerestric7ons:hemustchoosebasedonapredefinedrange,influencedbythelawsofthemarket,whichcondi7onthoseoftaste(colormatching),orviceversa.Itisnotpossibletoiden7fyandquan7fyexis7ngcolors.Fromthedawnof7me,inordertoclassifycolors,ar7sts,physicistsorchemistshaveintroducedveryheterogeneoussystems:intheprinciplesandintheshapes,planeorthree-dimensional,moredifferent,forexampletheIQenhuecircleortheMunselltree.Nowadays,thechoiceofacolorsystemoveranotherdependsessen7allyonthescopeofapplica7onandtransforma7onprocessesthataQributeperceptualquali7es to thematerial:dyeingof thematerial throughdyes (plas7cfibersand tex7les)or surfacedeposi7onofpigmentsbypaintsor inks (prin7ngandpain7ngprocesses)Theadop7onofcomputerizeddrawingsystemshasmul7pliedthemanagementandcontroltoolsoftheproject,alsofromthechroma7cpointofview:eachdedicatedso;warehasacolorselector.Thistoolassociateseachcolorwithanumericalcode,whichiden7fiesitandmakesituniqueanduniversallydis7nguishable,withinitsowncodingsystem.Infact,thedifferentsystemsadoptdifferentlanguages,sothesamecolorisassociatedwithseveralcodes:theHLSsystemhasatriadofspecificnumbers,inthesameway theRGBsystemand theLab space; theCMYKaQributes fourvalues toeachcolor; theHtmlhexadecimal systemadoptsanalphanumeric codeinstead.Thecombinatorialpossibili7esassociatedwiththevarioussystemscanreturn16,000colors(andevenmore).Absolutelymanymorethanthehumaneyeisabletodis7nguish.Thecodingofa7ntthroughanumericalcodedis7nguishestheparametriccharacterofthechroma7cvaria7on:bychangingasinglenumberitispossibletomodifythesuperficialspectralqualityofthear7factinitsvirtualdefini7on.Thisprocess,nowconsolidatedinthedesignprac7ceofdesign,especiallyinthegraphicarea,undergoescon7nuousupdates,duetotheimplementa7onofmathema7calcodeswithinthedigitaldevelopmentenvironments.Similartothedefini7onsystemsofshapesandpaQerns,suscep7bletochangesbasedonalgorithmsthatcontroltheirgeometries,colorcanalsobemanageddigitally, by wri7ng parametric codes that link each individual color value to a specific point/pixel of the physical/graphic space. In par7cular, using theparametricpaQerningtool,includedamongthecadapplica7ontoolssuchasGrasshopper,itispossibletointerpolateapredefinedimagewithageometricgrid,soastoassociateeachRGBcolorvalueofthemapwiththecorrespondingpoint-posi7oninthegrid.Theimage,ul7mately,isdiscre7zedinpointswithnumericalvalues,andthentranslatedintoavectorialgeometry.Another tool allows this associa7on between the polygons of a re7cular mesh - organic or geometric - with selected colors, with the possibility ofparametricallyvaryingthetonal,luminosityorsatura7onvalues.Inthiswaybothcon7nuousanddiscreteresultsarepossible,resul7nginarastergraphic,nolonger vector. This approach presents interes7ng developments concerning the transi7on opera7ons between the different colors, which can occur bygradient,givingrisetoorganicmatrices,orbycontrast,withrespecttodiscon7nuousgeometries.Theparametricapplica7onadoptedforthetransi7onsisnotonlylinear,butpresentsar7culatedsolu7onslinkedtothecomplexityofthemathema7calcodesused.ThesizeofthecapabilityofcolorparametricsystemsindigitaldesignprocessescanbefoundintheresultsofDigitalArt:ifthear7s7ccultureabandonsitsworktoolstotesttheopportuni7esofnewITtools,itisthesignofachangenotonlyinstrumental,butspeciallylinguis7c.

4.Results



Thissec7onshowstheresultsofsomeexperimentsaimedattheimplementa7onofparametricinforma7onsystemsforthedevelopmentofthedecora7vepaQern and for the development of the colour gradient. In par7cular, the path has been focused on the understanding and innova7on of ar7s7c cra;processes,media7ngthescopeofuniquear7facts(orlimitedseries)withthescopeoflarge-scaleindustrialproduc7on.Inpar7cular,withreferencetothethemeofthematerialandtheconforma7onprocessesofthemanufacturedproduct,theinterestintradi7onalproduc7onhasbeenfocused,reachingtheintegra7onofenablingtechnologiestowardsthear7sanalproduc7vityoftype2.0,throughtheuseof3Dprin7ngaimedatmakingmoulds(excava7on,embossy,graphicimpression,etc.).Theexperimenta7onthemewasaddressedtotheaesthe7ccharacteriza7onofthesurfacesmadeinceramics,tex7leandleather;themethodologyadoptedhasmarkedtheprocessinfivephasesofplanningandrealiza7on.Theapproachadoptedaimedatdefiningtheexpressiveandcommunica7vepoten7alityofathree-dimensionaldecora7onthroughgraphic-visual,tac7leandchroma7cconsidera7ons,inrela7ontothetriadconsis7ngofmaterial,toolsandproduc7onprocess.Thegraphicthemeof"gradient"hasbeenelaboratedonthebaseofaparametric3dmodel.In the first phase a visual graphic composi7on is developed, responding to precise principles of percep7ve nature such as "rarefac7on and thickening","direc7on","order".Thisconceptisdevelopedusingdigitalcomputers,andthentransferredforconceptualtransposi7onintodifferentmaterialsupports,withamodularsizeof10x10cm.

Fig 1 – The original composi7onal principle is thus implemented on a running surface, through module itera7on opera7ons, by reflec7on, rota7on ortransi7on.

Theoriginalcomposi7onalprincipleisthusimplementedonarunningsurface,throughmoduleitera7onopera7ons,byreflec7on,rota7onortransi7on.

Fig 2 – The original composi7onal principle is thus implemented on a running surface, through module itera7on opera7ons, by reflec7on, rota7on ortransi7on.The7lesareproducedusingFD3dprintsystem.



Thethirdphaseconcernstheassocia7onofcolourvaluesoftonalscaleandcontrasttothegraphic-visualcomposi7on,andthesubsequenttransposi7onontothematerialsupport.

Fig3–Thethirdphaseconcernstheassocia7onofcolourvaluesoftonalscaleandcontrasttothegraphic-visualcomposi7onproducedusingaparametrictool

Theprocedural implementa7onoftoolstakesplaceinthelasttwophases:thegraphiccomposi7onisa3dmodelfortheproduc7onoffilesusefulfortherealiza7onofnega7ve-posi7vemoulds,usingthree-dimensionalprin7ngprocesseswithfilamentdeposi7oninPLA.Themouldsthusobtainedwillbeusedtodefinethesurfacequalityofthephysicalpanel,experimen7ng"mould"proceduresonrigidsupports.

Fig.4–Fromthegraphiccomposi7ontothe3Dmodelling-tothe3Dprintedmouldfortheembossyofthe7ssue.



Fig.5–Thepresentpictureshowsthedifferenteffectsoftheembossyproducedondifferentsurfaces:coQon,felt,polyester,leather.

5.ConclusionsTheparametricdesigncombinedwiththeproduc7onofmodelsthroughprintoutputandelectronicallycontrolledprocessingrepresentsaphaseofevolu7onofthecontemporaryart industrylinkedtodigitaloutcomes(Oxman,2007).Thevectorandbitmapso;wareapplica7onsthroughthegenera7velogicoffernew opera7ve tools and possibility to elaborate innova7ve formal languages, coherent with the mathema7cal models that support them through thealgorithms.InaccordancewiththeKunstwollenbyRiegl,theinstrumentaltechnicalequipmentsupportsthewillofartandconfiguresnewopera7ngmethodsinwhichthedesigner,thecomputertechnicianandthemachineoperatorsharethear7s7cprocessofmaterialtransforma7on.

Notes[1]Foradeeperunderstandingofthevarioustheoriesofcolor,appliedtotheworldofdesign,acomparisonwiththepioneeringtextsofIQenandAlbersisfundamental,inwhichthecri7calapparatusisalwaysaccompaniedbygraphicexperiments.

[2]«Il controlloqualita7vodel coloreèunodeiproblemi centrali della culturaambientalemoderna.Primaancora chedella formaodella funzionediunoggeQo,noinepercepiamo l’iden7tà croma7ca, a tal punto che l’insiemedei colori che ci circondano cos7tuisceuno specifico livellod’usodell’ambientestesso.All’internodiquestaproblema7ca, ilcoloredeveessereoggi intesocomeoggeQodiunaricercaprogeQualeautonoma;finoadora ilcoloreèstatol’ul7moaQributodelprodoQoindustriale:ildesigner,dopoaverneprogeQatolaformaelafunzione,sceglieilcolorecomeul7mosegnodacollocaresudiunastruQurachepossiedegiàtuQelequalitàfondamentali.»(AndreaBranzi,LaCasaCalda,pp.102-103).

AcknowledgmentsThispaperwaspresentedat6thEIMAD–Mee7ngofResearchinMusic,ArtandDesign,andpublishedexclusivelyatConvergences.



BibliographicReferencesAlbers,J.(1971).Interac7onofcolor.NewHaven:YaleUniversityPress.Batchelor,D.(2001).Cromofobia.Storiadellapauradelcolore.Milano:BrunoMondadoriBenjamin,W.(1966).L’operad’artenell’epocadellasuariproduzionetecnica.Torino:Einaudi.Branzi,A.(1999).Lacasacalda.EsperienzedelNuovoDesignItaliano.Milano:IdeaBooks.Branzi,A.(2008).IntroduzionealDesignItaliano,unamodernitàincompleta.Milano:BaldinieCastoldi.Carboni,M.(2001).L'ornamentale:traarteedecorazione.Milano:JacaBook.DiRoma,A.(2008).Laproduzioneinseriedell’ornatoarchiteQonico:dall’industriaar7s7caellenis7caallaproto7pazioneconprocessicad–cam.Roma:Aracne.DiRoma,A.(2016).Laculturamaterialetratradizioneeinnovazione.InA.DiRoma,A.Scarcelli&V.Minenna,CulturamaterialeeDesign(pp.11-30).Bari:Favia.Focillon,H.(1939).Viedeforms.Paris:PressesUniversitairesdeFrance.Hauser,A.(1955).Storiasocialedell’arte(Vol.III).Torino:Einaudi.IQen,J.(1982).Artedelcolore.Milano:IlSaggiatore.Oxman,N.(2007).DigitalCra;:Fabrica7onBasedDesignintheAgeofDigitalProduc7on.WorkshopProceedings(pp.534-538)forInterna7onalConferenceonUbiquitousCompu7ng,Innsbruck,Austria.Panofsky,E.(1961).Laprospe}vacomeformasimbolica.Milano:Feltrinelli.Riegl,A.(1893).S7lfragen:GrundlegungenzueinerGeschichtederOrnamen7k.Berlin:G.Siemens.Scarcelli,A.(2016).IlcolorematerialedelprogeQo.InA.DiRoma,A.Scarcelli&V.Minenna,CulturamaterialeeDesign(pp.31-44).Bari:Favia.

ReferenceAccordingtoAPAStyle,5thedi%on:Roma, A. Scarcelli, A. ; (2018) Upda7ng tradi7onal hand made ar7s7c industry with an adap7ve - genera7ve approach.. Convergências - Revista deInves7gaçãoeEnsinodasArtes,VOLXI(21)RetrievedfromjournalURL:hQp://convergencias.ipcb.pt

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Upda%ng tradi%onal hand made ar%s%c industry with an adap ... · In the design process of an artefact, the role of color has always been ambiguous (Batchelor, 2000), both for the