Category: Elizabete: hat, fruit or flute

Digital VR art: a full 360-degree panorama made in ink and watercolour © Lufo Art, 2017

The creative process behind Elizabete Balčus’ drawing

The creative process for Elizabete Balčus’ drawing started in October 2017, after an invitation by Giovanni Di Rosa (a student in my drawing class at the University of Salerno) to join him for live drawing sessions at the Godot Art Bistrot of Avellino, Italy.  During those days, I attended a total of four concerts and drew while artists like Mary Ocher, Campos Band, Raoul Vignal and Elizabete Balčus performed on stage. Elizabete, a psychedelic sound artist from Latvia, uses fruits and vegetables in her compositions, creating unique, pumping, alive, and extraterrestrial sounds. The creative process behind Elizabete Balčus’ drawing Elizabete Balčus and the creative process Fruits and vegetables, alive Elizabete Balčus is an amazing performer, composer, musician and a psychedelic sound artist who has the particularity of using fruits and vegetables for her compositions.  Elizabete’s uniqueness certainly influenced my creative process: the – fruit / cable / synthesiser / mixer / amplifier / speaker /air / ear / brain – connection that she established during her presentation, gave me the beautiful experience of perceiving the life inside every piece of food. I found this fascinating, as every fruit and vegetable will generate a different sound every time… Plus you will never get the same lemons in Berlin than in Amalfi! I drew during Elizabete’s performance using a 360 drawing structure – in particular, an equirectangular perspective – for then generating a virtual environment out of it. I chose this format motorised by the enthusiasm of discovering 360 drawings, in 2017 I was at the beginning of my research and intuitive explorations about these kind of drawings. In fact, I started my first PhD in immersive drawing only a week after this session (here is my thesis if you want to check it out), and I only wanted to go deeper and deeper on this kind of hybrid – analogical / digital – artwork.   I captured the fruit / Elizabete / music connection playing with plasticity, fluidity, shapes, connecting points, and colours. Within the virtual environment one can follow those links and move along the different elements. This is also a representation of Elizabete’s music, as her compositions have elements and passages joint within different songs, like in a symphony with different acts. Is it Sabina’s bowler hat or…? And then of course there is also the hat. “Is it Sabina’s bowler hat or…?”, I wrote in Spanish. This sentence has different connotations: on the one hand, it refers to the singer Joaquín Sabina, who likes to wear a bowler hat. That night, for some reason, there was a bowler hat in the stage of the Godot Art Bistrot that called my attention. However, this sentence also refers to Sabina (Sabine in English), the character from The Unbearable Lightness of Being by Milan Kundera. In Kundera’s book, Sabine receives Thomas dressed with nothing but the bowler hat. Sabine and Thomas convert that unusual object that belonged to Sabina’s grandfather into a nonsense icon of their sexual games of provocation and sensuality. They make love in Sabina’s bed, which is alone “as a stage” in the middle of the room. And there she was, Elizabete with her sensuality and her exotic hat in the stage… Tragame tierra (Swallow me earth) In my drawings, I like to represent not only what I hear, but also what I feel while I’m doing it. In that regard, the ground below Elizabete’s drawing is opening, creating a black hole where I want to fall and hide: I beg the earth to eat me, to make me disappear. With this, I appeal to the “Tragame tierra / La tierra se abre / Bajo mis pies” (Swallow me earth / The earth opens up / Beneath my feet), sung by Gustavo Cerati in Bomba de Tiempo to materialise the sensation when I have to break the limits and speak to someone that I desire. Because yes, that was the sensation that I had that night of October 2017 when I had to gather my courage to speak to a woman that caught my eye… (and no, it didn’t work out). The VR dimension Elizabete’s artwork has a special distortion that allows me to create a 360º virtual environment. Take a look (click and drag to navigate around): If you want to learn more about VR drawings, I recommend you to read this article and check on my academic research, where you will find several state-of-the-art resources for learning about spherical perspectives. Making a 360º video The drawing was also used as the base for a 360º video, shared and available on YouTube. Of course, my inexperience editing videos pops very much out, yet for me was an amazing experience for mixing cubical perspective, equirectangular perspectives, visual effects, and Elizabete’s music. Although naïve, the video is a nice way for showing another possible application of immersive drawings. Closing The series of drawings made at the Godot Art Bistrot, like Elizabete: Hat, Fruit or Flute, have been used for creating the above-mentioned 360 VR video, but also for the exhibition “I’m Watching You/Me” and within my research in digital media art, showing some of many creative applications that these compositions can have. The creative process behind Elizabete Balčus’ artwork shows how I fluctuated between instant personal impressions, the technical precision necessary for creating equirectangular panoramas, and the mixing of the two components with virtual reality.  For you to understand easily the complexity of the composition, I ask you to pay attention to the flat image of the artwork, then go to the VR view and look carefully at the upper part. Can you see Elizabete’s green eye? Wonderful, now go back to the flat drawing and try to find it… That. That is the key point for understanding an equirectangular panorama. You will never find it unless you change your mind: in the flat drawing the green eye is just a horizontal line…

VR art based on handmade drawings and learn about immersive drawings, equirectangular and cubical projections

Elizabete: Hat, Fruit or Flute?

Elizabete: Hat, Fruit or Flute © Lufo Art Name: Elizabete: Hat, Fruit or Flute? Dimensions: DIN A3 (420 x 297 mm) Technique: Handmade equirectangular perspective in ink and watercolour Year: 2017 VR Panorama Elizabete’s artwork has a special distortion that allows the creation of a 360º virtual environment (click and drag the panorama below to open the virtual environment in full screen). The story behind “Elizabete: Hat, Fruit or Flute?” In 2017, Giovanni Di Rosa (a student from my drawing class at the University of Salerno) invited me to join him for some live drawing sessions at the Godot Art Bistrot in Avellino, Italy. I attended a total of four concerts and drew while artists like Mary Ocher, Campos Band, Raoul Vignal and Elizabete Balčus performed on stage. Elizabete, a psychedelic musician and sound artist from Latvia, uses fruits and vegetables in her compositions, creating unique, pumping, alive, and extraterrestrial sounds. I captured the experience of live listening to Elizabete in a 360º drawing structure, which can be converted into a virtual environment. Furthermore, the resulting artwork was turned into a 360º video available on YouTube, which combines my artwork and Elizabete’s music, and illustrates the mix of personal impressions and technical precision. Here below there are some details, click and navigate the gallery to have more info about them. Did you spot every detail in the entire drawing? Are you interested in buying this artwork? Do you have questions about it? Write me a message using the form below and I will get back to you as soon as possible. Please enable JavaScript in your browser to complete this form.Name *FirstLastEmail *Country *Name of the artwork *Are you interested in buying: * Original Copy (Digital Print) Personalised Copy (Original watercolour on top of a printed outline) Your message * Submit The Creative Process The creative process behind Elizabete Balčus’ drawing The creative process for Elizabete Balčus’ drawing started in October… Read More lufoartMay 29, 2024 Digital Media Art Project: The Musicality of Drawing The concept “Musicality of Drawing” explores how to express music… Read More lufoartJune 5, 2022 Digital Media Art Project: The Starting Point This is the first entry aim to document the evolution… Read More lufoartFebruary 23, 2022 VR art based on handmade drawings and their innovation VR handmade drawings: enlarging the view I mentioned the VR art… Read More lufoartDecember 31, 2018 Check other artworks Elizabete: Hat, Fruit or Flute?

Musicality of Drawing

Digital Media Art Project: The Musicality of Drawing

The concept “Musicality of Drawing” explores how to express music using hybrid immersive drawings, and how visitors perceive the musicality of a spherical perspective. A/r/cographic recap: within the previous entries, I completed the following steps of the a/r/cographic methodology: Inspiration, in this and this article Trigger Intention The next definition is concept, for which I developed a first part here. Hence, the aim of this entry is to complete such a development: Background Methodological definitions Previous artistic experiences Musicality Here and now The Musicality of Drawing Conclusion References Musicality of Drawing – Drawing at the Godot Art Bistrot during the concert of Mary Ocher © Lufo Art, 2017 Background Firstly, and according to the previous entry, the definition of the concept should consider, first, methodological definitions, and second, previous artistic experiences. Therefore, let’s try to develop a bit further these two points, so to understand their connection with the concept. Methodological definitions Within the module MIPA (Metodologia de Investigação e Produção Artística) of the DMAD PhD program, I developed a short article. I called that article “Definiciones metodológicas para una investigación basada en la práctica artística con Modelos Híbridos Inmersivos” (in English: “Methodological definitions for practice-based research with Immersive Hybrid Models”). You can peek the essay right below this paragraph or download it here. In that article, I explained a couple of useful things that structure the methodological approach. For example, I talked about the connection of the current digital media art project with a previous ongoing research. In that regard, the previous research developed the so-called “Hybrid Immersive Models” (HIM) and their application using the cubical perspective (Olivero, 2021). Furthermore, I also considered the advantages and disadvantages of following the already known approaches for social and natural sciences, i.e., the positivist and the interpretative approaches. Also, I summarised how these more classical approaches do not fully fit for an art-practice based research.  Indeed, the art-practice based research field has developed in the last years its own methodologies (Sullivan, 2005). Within them, Patricia Leavy (2020) structured some criteria for understanding if an approach is valid or not, from which I rescued strategic points to consider, such as Question-method Fit, Translation, Holistic Approach, Data Analysis, Usefulness, Audience Response, Artfulness and Multiple Meanings. Previous artistic experiences On the other hand, this second part is connected with the real situations that I have dealt with as an artist. Indeed, as explained within this entry I gathered experiences and important reference points while creating handmade VR drawings in equirectangular format and listening to live music. Therefore, the concept should consider these aspects from a more focused point of view: when I had those experiences I was not really aware about what I was doing. So, I would like to explore them specifically now: how do I see music? What is the effect of music on my graphical output? Do I have a sound/graphic alphabet? How does a HIM collaborate on expressing that connection? Musicality According to Düchting (2013), one of the strongest elements stimulating Kandinsky’s artistic sensibility was music. For example, he had a strong visual experience during the representation of the opera “Lohengrin” of Wagner: “I felt that I had all my colours in front of me. Disorderly and almost absurd lines were forming in front of me” (p.10). Thanks to his synaesthetic ability, Kandinsky perceived the power of music and at the same time sensed the forces of painting, which had yet to be discovered. The relationship between colours and sounds, which for him was not only supposed but actually existed, captivated him to such an extent that this secret correspondence of the arts became one of the pillars of his artistic convictions, even the starting point of his painting (Düchting, 2013, p.10).  Now, when I look back to my own experience in 2017, I notice that the visual expression on my drawings is not connected in the same way with “what was happening” while I drew them.  CamposGodot (left) Lo Schifo Moop (right) © Lufo Art 2017

Image for a digital media art project: drawings result from the live painting session at the Godot Art Bistrot, Avellino, Italy © Lucas Fabian Olivero, 2017

Digital Media Art Project: The Starting Point

This is the first entry aim to document the evolution of my digital media art project. This project is part of the PhD program in Digital Media Art “DMAD” that I’m currently following. Consequently, I will use this digital journal to collect milestones, inspirations, concepts, intentions, advancements, technologies, improvements, etc.  The entries will go forward and back, diving through key concepts. However, they will do it not in a crazy and uncontrolled path, but following the art and communication based research methodology a/r/cography (da Veiga, 2019, p. 335). So, I start explaining the research background and the very first inspiration for the project development. Background My research in the field of Digital Art is very new. However, I have previously researched in the field of drawing, focusing in immersive perspectives with applications in design, architecture and engineering (check here a list with my full research). In fact, between 2017 and 2021 I completed a first research PhD in which I developed techniques for handmade immersive drawings. Such drawings have the particularity that can be converted into VR environments. Important milestones of this research were the first systematic definitions of cubical perspective (Olivero et al., 2019, Araújo et al., 2020). The goal was achieved with the help of my advisors Adriana Rossi and António Bandeira Araújo. Although it keeps going ahead, the investigation settled a transition point almost one year ago with the issuing of “Hybrid Immersive Models from Cubical Perspective Drawings” on March 2021 (Olivero, 2021) (Figure 1). Figure 1: Studies about immersive perspective a) Cubical perspective b) Equirectangular perspective c) Geometrical proportions of the project (c) Immersive navigation (e, f) © Lucas Fabian Olivero On the artistic practice My interest for immersive drawings started during 2017. Back then, I shared classroom giving lessons with Bruno Sucurado in Italy. Meanwhile, Bruno was already practicing these kind of illustrations and introduced me to the equirectangular perspective (Olivero & Sucurado, 2019). So, I got interested in the technique, learned some basic principles, and started to practice it. After that, I was invited to a cycle of live music presentations at the Godot Art Bistrot, Avellino, Italy (Olivero, 2017). As a result, I started to test spherical anamorphosis within live drawing sessions: I attended a total of four events and produced one equirectangular drawing for each of them (Figure 2). Preparing for the drawing session © Lucas Fabian Olivero, 2017 The exhibition of Hybrid Immersive Models Visitors watching the VR results Figure 3: “HIMmaterial: exploring new hybrid media for immersive drawing and collage” at ARTECH 2019, Braga, Portugal, 2019 Closing Currently, the use of spherical anamorphosis within digital art exhibitions requires a big intellectual effort (both from the artist and the visitors), great oral communication skills, and the presence of the artist for a peer-to-peer communication. Consequently, such a setup limits both the artist and the artworks. However, with the current theoretical developments existing for spherical perspectives in the field of drawing it should possible to find a straightforward way for appreciating these exhibitions. In other words, this digital media art project should bring a new way of experimenting spherical anamorphosis that might release the artist and the audience and, therefore, improve the artworks, the exhibition, and the experience of the audience. Bibliography Araújo, A. B., Olivero, L. F., & Antinozzi, S. (2019). HIMmaterial: Exploring new hybrid media for immersive drawing and collage. In P. Arantes, V. J. Sá, P. A. Da Veiga, & F. M. Adérito (Eds.), Proceedings of ACM ARTECH conference (ARTECH2019) (pp. 247–251). ACM Press.   Araújo, A. B., Olivero, L. F., & Rossi, A. (2020). A Descriptive Geometry Construction of VR panoramas in Cubical Spherical Perspective. Diségno, 6, 35–46.   da Veiga, P. A. (2019). A/r/Cography: Art, Research and Communication. In Proceedings of the 9th International Conference on Digital and Interactive Arts. Association for Computing Machinery.   Olivero, L. F. (2017, October 3). Live art painting sessions [Art Exhibition]. Godot Bistrot, Avellino Italy.   Olivero, L. F. (2018a, January 21). 360 Points of View [Art Exhibition]. Eco Bistrot, Salerno, Italy.   Olivero, L. F. (2018b, October 3). 360 Points of View [Art Exhibition]. Passo Duomo, Salerno, Italy.   Olivero, L. F. (2021). Hybrid Immersive Models from Cubical Perspective Drawings—Modelli Ibridi Immersivi da Disegni in Prospettiva Cubica [PhD Thesis]. University of Campania “Luigi Vanvitelli.”   Olivero, L. F., Rossi, A., & Barba, S. (2019). A codification of cubical projection for the generation of immersive models. Diségno, 4, 53–63.   Olivero, L. F., & Sucurado, B. (2019). Analogical immersion: Discovering spherical sketches between subjectivity and objectivity. ESTOA. Revista de la Facultad de Arquitectura y Urbanismo de la Universidad de Cuenca, 8(16), 47–59.

Image for a digital media art project: HIMmaterial, art exhibition at ARTECH 2019, Braga, Portugal

VR art based on handmade drawings and their innovation

VR handmade drawings: enlarging the view I mentioned the VR art based on handmade drawings on my home page. But, what is it exactly a VR (or 360) drawing? Why am I so interested on them?  I’ll try to explain a bit about it in this article. Although, I must warn you: we will need more than one post! When we do a “classical perspective”, we use what we call a drawing plane. In that plane we re-present in 2D, the points and lines that compose a specific scene of a 3D environment. If we do a parallelism with photography, we always capture an image within the boundaries of the film or the sensor, right? In the same way, the drawing plane limits our composition.  But, what if we want to expand our vision and capture the full panorama around us?  Here is where VR drawings come to help us. A VR drawing represents all around the observer’s point of view. Not just a limited window. Digital VR art: a full 360-degree panorama made in ink and watercolour © Lufo Art, 2017 Photographic panoramas The representation of a full panorama is something well-known in the field of photography. The way to solve a wider picture is to stitch many individual pictures taken with different angles, thus covering a bigger field of view (FOV). The bigger is the angle that the camera captures, the less is the quantity of shots we need to cover a certain FOV. Currently, the technology gives us the possibility to take a 360º per 360º picture with just one shot. These cameras, such as the “Insta360” camera, use many “fisheye” lenses at once. Once the panorama has been generated, we can navigate it and perceive it in an immersive manner. We create such an immersion by putting a surface around the observer, and then covering it with the panorama. The two most used surfaces are the sphere and the cube. Therefore, we can say that in a full panoramic representation the drawing plane changes to a spherical or a cubical surface.  Equirectangular projection The equirectangular projection is one way of mapping the surface of a sphere. This means, it is a way of flattening a 3D shape into a 2D image.  We use the equirectangular format, for instance, to represent the world. In a world map, we can easily notice big distortions, specially in the poles. In fact, Antarctica, Russia and Canada have a shape more elongated in the map than in the reality. This deformation has been analysed and studied through indicators such as the Tissot’s indicatrix. Now, look closer to the equirectangular picture that I took in Lisbon. In this full panorama you can see odd curves and weird building shapes. Yet, if we build a sphere and cover it with the panorama, all lines will look as they should. An equirectangular photography from my ex room in Lisbon © Lufo Art, 2019 Cubical projection​ The cubical projection (AKA “cubemap”) is one way of mapping the surface of a cube. It is used, for instance, to generate scenes in video games (see skybox). In contrast with the equirectangular format, straight lines are represented as straight segments and not as curves anymore. Furthermore, although there is some kind of deformation, it is “more known” to our eye. Indeed, on each face of the cube we have a classical perspective. On another perspective, we could say they are six individual pictures framed in a squared sensor.  But, all that glitters is not gold they said. As everything in this world, the use of the cube has also some cons. For instance, it has the big disadvantage of being a discontinued map. Focus on the image of my ex room in the cubical format. You will notice that is not that intuitive to connect the upper part of the righter face with the upper part of the middle-up face.  Another disadvantage is the odd way that lines break when they cross from one face to another. Take for instance the buildings on the picture: they converge to some point on the righter face, they are more or less straight on the centre-right face, and then they converge again to some another point on the centre-left face… Still they are representing the same block of buildings!  Cubical panorama from my ex room in Lisbon © Lufo Art, 2019 On drawing practice So, we just saw that the equirectangular and the cubical projections are used for photographic panoramas.  But, what if we want to draw a building, show it through its outline, instead of using the billion colour points automatically captured by the camera?  What if we want to do a panorama of a surreal world that does not exist? Good news mate, we can do it!   We can generate our VR art by drawing either in the equirectangular or in the cubical format (further on we will explore other projections as well). Once the drawing is ready, we will fold it digitally onto the 3D sphere or cube, and then we will be able to navigate our artwork … from within! This way, we can create artworks reusing a technology mainly developed for photography and video games. We will use their tools to navigate and share our art, such as the VR plugin for panoramas embedded in Facebook. Anamorphosis​ We saw that both projections have either odd deformations or weird ways of breaking. In both cases, these particularities make all the sense once we cover the correspondent 3D shape with the drawing, and then we place the observer in the central point of it. From that point, you will see every represented shape perfectly reconstructed, and you will notice neither curves nor breaks.  In more rigorous terms, an anamorphosis is a set of two steps: a projection onto a sphere, and a cartographic operation of flattening that sphere. For a far better and more detailed explanation, you can check this work by António Araújo, who has been my mentor since 2018, PhD advisor and a wonderful friend. António has a large and very detailed research specifically dedicated to spherical anamorphosis that you can check here. Let’s use an example to understand better what an anamorphosis is. Pay attention to the original artwork “Elizabete, hat, fruit or flute“: Elizabete: Hat, Fruit or Flute? Equirectangular drawing in watercolours and ink ©…
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