I love The Guerrilla CG Project- Get Involved! Quality!
I absolutely love The Guerrilla CG Project. I think these tutorial videos are excellent. If you are into Computer Graphics and want to be a part of an incredible educational experience let me introduce you to The Guerrilla CG Project. Go to their website and check it out.
Zbrush and Zsketch- Is It As Good As It Looks?
Now the Mudbox book is complete I can dive into Zbrush and see what it can do for me. I’m excited about combining these two programs to see what I can “carve” out for myself. ZBrush 3.5 has a new process called zsketch. I’m interested to find out if this really works as good as it seems to. Unfortunately they do not have this for the mac version yet. I may end up in another office trying it out on a PC
As a traditional sculptor trying to introduce other traditional sculptors how to enter this field without having to learn 3d modeling in a modeling program it has been almost impossible. I did figure out a way using Mudbox which I write about in the book, but if this zsketch really works and makes good models. Well then that will be wonderful.
I found this great thread showing some of the zsketch capabilities and the work of a poster called painzang. The video is also his. What he is doing is creating the zspher model under a zsketch. ( updated 2020 this post is over 10 years old. Zbrush has come a long way since these simple zsketches)
Oh The Book Looks Good- Thanks To Those Who Contributed To The Gallery
Oh! The book chapters look good. Thanks to those who contributed to the gallery. We are finishing up the proofs. Glad to put this one to bed, on to the next.
Calling artist and those interested in technology and art.
I love the ideas behind Adrian Bowyer and the Rep Rap. Here are two new videos.
A short one discussing the entire concept behind rep rap.
TAKE NOTE: a rep rap new addition. extruder for ceramic. Oh I must get something in my own studio.
PLEASE NOTE:
I am wanting to write articles and podcast interview about several topics concerning 3d printing and art and technology. Please contact me at bridgette@creativesculpture.com if you have suggestions.
The podcasts, articles and other information will be collected and distributed from a new website that will be going live no later than May 2010. It will be located at digitalsculpture.net.
I have also pitched another book to my publisher about art and technology ( 3d physical artwork such as sculpture etc). I am looking for artists to include in this book as well as those doing research and service bureaus.
More Great Information About 3D Printing And Our Podcast
Can I be any more excited about my new endeavors? We just completed our second podcast with Joris Debo from Materialise. Oh the very interesting things I found out about the services that are going to be made available for digital printing. It was a great conversation and Joris will be sending more information concerning 3d printing that we can include on our new website. The website digitalsculpting.net will be up no later than May. We are working out all of the details of the site. All of these podcasts will be put up there.
Time to secure podcast interview #3.
More News In Digital 3D Printing Of Ceramics
I love to pass on interesting information as it pertains to technology and art especially when it has to do with sculpture.
Here are some wonderful links.
Ceramics Research from the Emily Carr University in British Columbia
And of course a regular ongoing plethora of information Solheim’s blog
Pedagogical Philosophy of Bridgette Mongeon
It was recently brought to my attention that I needed to have a pedagogical philosophy. At the time, I was not sure I had one. But after some thought I discovered that not only did I have one, I was quite passionate about it. And so, I am sharing it here.
My next personal assignment- a pedagogical philosophy as it pertains to teaching technology.
Pedagogical Philosophy of Bridgette Mongeon
Having myself experienced the wonderful learning engrained in Dewey pedagogy at both Vermont College and Goddard College it is a given that this educational experience would affect how I teach. But experiential education was a part of my own personal, perpetual learning experiences long before undergraduate or graduate work. It has propelled me into my many advancements including that of the title of Master Sculptor.
Passion and Experiential Learning
Assisting an individual to take charge of their own learning through ongoing dialogue, empowering them with knowledge and resources, and helping them to find opportunities that will enhance their life long learning while encouraging professional advancements means tapping into the passion of the individual. Tap that passion and an undying enthusiasm for learning will develop. Even though I am teaching a subject or a discipline of art or writing even helping other with their career goals, as creative individuals it is this personal passion that I am hoping to ignite.
Life is Interdisciplinary A creative life and education is inherently interdisciplinary. It is rare that you will meet a gifted individual who is single minded in their creative practice. The individual and their creativity are usually extremely complex. The key is to encourage and celebrate the interdisciplinary excitement and exploration of the creative individual while also encouraging focus. This means that an instructor is more than just teaching a subject or a discipline, but they are helping a student to explore
Communication and Differences
Communication is essential, between students and instructor as well as between instructor, coworkers and administration. It is also necessary to understand that individuals work differently when it comes to accepting and retaining information.
Understanding the diverse array of students, their cultural backgrounds as well as their experiential backgrounds and tailoring or tweaking the teaching style also helps with this clear communication. Finding the perfect dialogue that will fit each individual’s learning style and diversity, and being sure of clear communication with students, coworkers and administration is at times a challenge, but a challenge that I find continues to be my own welcomed exploration of the study of the psychology of learning and behavior.
Creative Angst
As an artist, writer, musician and business owner I understand the diverse nature of creativity and am intimately familiar with the struggles that students can have as they push through the creative process for either in individual projects, a semester, or in just trying to find their own voice. Understanding this internal war of art and sharing my own experiences, and by showing respect for the student and the process, while being transparent enough to allow the student to know their struggle gives us a rapport.
Size of Classes Small- Large- Challenged
Throughout my long career as a creative person and educator I have developed educational programs to assist individuals in tapping into their creativity. These have been presented to children, adults and those who suffer from emotional and psychological disabilities. I have taught sculpting, writing, art, and the business of art along with other subjects one on one, in small groups and at large lectures. In all of these instructional venues I strive for the personal connection to each individual through sharing and exploration. Education is a collaborative effort as one stands on the shoulders of those who have gone before or shares information for research and makes advances.
Teaching is more than a job; it actually offers a way for me to fill the unquenchable need to pass on information. To help those who are struggling through areas that I have come through, and to ignite self esteem.
My research and involvement in the art community continues. I look forward to sharing these resources and opportunities with my students. Through this education I will find ways for them to ignite their self-assurance and to apply their newfound knowledge, while realizing that, “Arriving at one goal is the starting point to another.” John Dewey.
First Art and Technology Podcast Complete- We Are On Our Way!
Yesterday I conducted my new podcast that I have created as a part of my research into “Bridging the gap between the traditional sculpture studio and new technology.” It will be located on my blog and our new website ( not up yet) Digitalsculpting.net. This site should be up by May along with the podcasts. It will be a community of artists offering a vast amount of resources on this subject. It was prompted by our publisher Elsevier and the new book on Digital Sculpting with Mudbox.
My first interview was with digital sculpting pioneer Robert Michael Smith. Monday I will interview Joris Debo from Materialise. My hit list for others in this podcast of Art and Technology are both artists, those in research and those providing the technologies for artists. I’m especially interested in things that are near and dear to my heart. All aspects of technology that help to create figurative sculpture, methods that will assist in creating a new type of foundry and bronzes, clay and the history of digital art, as well as the mix of math, science and art.
I am continually reminded how much this bridge is needed, by both the vendors and by those working and passionate about creating and the technology. As Robert Michael Smith said in our interview.
“I’m glad to see people like you are picking this up and doing it on your own now. This stuff really should be financed from a single source. There should be a single hub of information. “
The others on my hit list.
- The other artists involved in the Digital Stone Exhibit.
- Carl Bass CEO of Autodesk and a sculptor and involved with the Digital Stone Exhibition
- Synappsys Digital Services along with Shan Gray on the new process Data Direct To Mold used to create The American
- Christiane Paul Who wrote these articles about digital technology and sculpture. The were written 10 years ago. This is how I was introduced to Robert Michael Smith. I would also like to interview the other artists in this group who were working in this digital sculpting 10 years ago they are:
- Dan Collins
- Kieth Brown
- Michael Reese
- Derrick Woodham
- Christian Lavigne
- Curator of Design and the Elastic Mind at MOMA Paola Antonelli
- Someone from Solheim Laboratories at the Mechanical Engineering Department at the University of Washington about their digitally printing of clay and glass. I would love to cover one of their other collaborators with them. Perhaps Ron Rael @UC Berekely who asks in this post “Are we the first in the world to 3d print translucent Porcelain?” It does not take long to float through this blog and find another 6-10 people that I want to interview. and I must say I want to be able to print 3d ceramics in my studio!
- I love Robert Lazarini’s work and would be thrilled to interview him!
- Adrian Bowyer about RepRap Open source.
Robert Michael Smith also gave me an extended hit list. Please, if you know anyone who is interested in being a part, and of course those wanting to sponsor the site, send them my way!
More Slow
A class mate at Goddard understood what I was saying about the power of slow and shared with me SlowDance By David Michalek. I’m sorry I can’t post the videos but the links are incredible. “Sculpting Time.”
The Power of Slow
There is such power and expression in the slowness.
What is it about slow motion? As a sculptor of something that is stationary I wonder, “why am I intrigued with slow motion, especially of animals or the human form.” I think that it might be that while viewing slow motion we are privy to the different nuances of emotion and movement. Slowing things down makes me think, “Ah there, if I could capture it right there, then a few second later,” I say, “and that movement, oh isn’t that beautiful, if I could capture that right there.” Of course, to be specific, it would be better if I could see the slow motion from different angels, all at the same time. That is what a sculptor does. The movement of a piece needs to look good from all sides, all directions, though one angle is probably the strongest or the most seen depending on the placement of the sculpture.
VIDEO IS NO LONGER AVAILABLE
On another note, there is the anatomy. My heart skips a beat when I see the dog jump. Look at the power in the feet. I think, “Do I know this power because I have seen the frames before this action and the frames after the action? Would it be possible to have that same feeling if you saw that motion captured as a sculpture, and at which stage would I have to capture it to present that power?”
I think I should like to do a study. A study of slow motion as it pertains to art. How? My sculpting process is slow, meticulous. What if you combined slow and fast? What if I sculpted extremely fast, as sketches, which is a great practice, by the way, but interestingly enough, I never find I have the time to sculpt fast. What if I quickly sculpted different stills of movement as they are slowed and captured? Again I would need cameras from different angels to study the movement.
…interestingly enough, I never find I have the time to sculpt fast.
So look at this video not just as a commercial, but look at it for the emotion, the power, as a study of form and movement.
