Morphing Surfaces

CM — Mon, 01 Jun 2009 17:23:21 +0000

While sorting sketch folders and workspaces some days ago, I came across some rough Processing drafts based on eskimoblood’s Surface library. It’s more than 2 years ago, that I was utilizing this inspiring source of 3-dimensional surfaces and objects for the last time, but I couldn’t resist to give certain aspects another spin.

In previous experiments I completely missed out on the morphing functionality provided by the library and just after some quick testing of available surfaces I came up with some quite interesting forms and results. Combinations of two surfaces – a 1st more complex like a Tranguloid Trefoil and more simple counterparts (i.e. Spheres) turned out to be a valuable source and basis for further sketching.

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Current versions and prototypes are combining rotation and scaling as well as growth-like animations using the underlying mathematical structures (see Paul Bourke) and qualities of certain surfaces.

While still being impressed by the aesthetic value of generated forms and artfully arranged elements, I’m already thinking about using underlying procedures and algorithms for more applied usage in upcoming projects.

See more stills of created generative forms at Flickr.

Synket

CM — Fri, 25 Jul 2008 13:15:28 +0000

Working together with the people of Synket (a.k.a. producer duo Liebe Ist Cool) was really prolific in a charming and complementary way, as the labels visions and personal aesthetic appreciation (on both sides) almost perfectly coincided in several aspects. From the early beginning there was a keen interest in working with generative forms based on natural occuring patterns and after some research and first scribbles on paper and using Processing, Andereas Körberle’s Surface Library instantly caught the attention of involved parties.

Based on Paul Bourke’s Mathematical Shell (created in May 1989) a stripped down generative form was developed, more supposed to be a supplementing design element rather than a sign to shape the labels visual identity. In a second step a reduced logotype based on classy Helvetica lettering was created to form a contrast to the round and seamlessly flowing generative shapes. The creation process behind was following grid-based rules and a concept of steady reduction and simplification to form an abstract, yet memorable Logo.

Cautious and systematic reduction and transformation of classic Helvetica lettering

Both elements of the labels identity are based on cautious deconstruction and simplification of underlying structures and original forms to create a unique visual representation. Various aspects of music production and the labels output (i.e. iteration, patterns, rhythm and changes in tempo) where working as reference points and influencing factors during the design process.

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Logotype and generative form where introduced through the labels first vinyl record releases and continuously implemented in various digital and print media.

christianmeinke.com » computational design

Morphing Surfaces

Synket