Firstly, I began by considering the concept of what a wallpaper and pattern both are. When thinking about a wallpaper, there were several ideas in my mind. The first was of the traditional concept of a wallpaper – a patterned paper used to cover walls to add a decorative effect. The second – and the one I took most interest in – was that of a digital wallpaper. The decorative display, background, or screensaver we all see daily on our cellphones, laptops, tablets, televisions, etcetera. Lastly, I thought about the idea of a wearable pattern, and how different the aesthetics to consider are when adding the wearable aspect to a print. While I had originally liked several designs as wallpapers, once I considered them as a piece of clothing I quickly ushered them away. Finally, after struggling to find a balance between all of these and a theme I personally enjoyed I set about making a sunset through prints and patterns.
I began with the ideas of the stars in the sky and the milky way. I first started using curves that are offset by half of the wavelength(refer to sketch in the bottom right corner), but I latter realized that curves that are less symmetrical should be more appropriate for representing the organic nature of the milky way. I tried to use darker shades of blue to represent the night sky but they are not as visually pleasing to me when put together with the stars, so I decided on a very light blue. Overall, I happy with the product.
This project was inspired by Op Art and the repetitive patterns that present themselves as optical illusions. Op art is usually abstract and typically associated with black and white. Instead of creating a flat image I wanted to render something that appears to be three-dimensional, moving into the page. To achieve this effect, I added repeating rectangles of a low opacity to enhance the shading by creating white ones to the outer corners and black ones in the inside. Although the prompt was to create a stagnant image, I found the moiré patterns formed by the screen were an interesting part of this project since they change as the screen moves.
This is an example of Bridget Riley’s Op art.
Clearly, some of you really enjoyed the Wallpaper Project. We were bowled over by the passion, curiosity, ingenuity, and craft with which you pursued this investigation. Here are just a handful of our favorite responses to the prompt.
Alison Gondek wowed us with this exceptional study of graphics inspired by the alien writing and diagrams used in the television show, Doctor Who.
John Sprong created a gorgeous geometric design with details at multiple levels of scale. Ben Snell, meanwhile, used mathematical equations to model his own hand-drawn ink-hatching, resulting in a highly organic texture with complex and interesting rhythms. (We think it could use a little judicious noise.)
Maggie Mertz and Bo Kim developed designs based on traditional Japanese kimono textiles and Korean Dancheon architectural ornaments, respectively. Their projects are exemplary, not only for their high level of craft, but for the evident depth to which they researched these traditions, and the fidelity they demonstrated in finding ways to implement them computationally.
Marantha and Marisa both placed shapes on a grid — but each had totally complementary approaches to how those shapes were made. Marantha generated her shapes randomly, creating a regular pattern of organically-varying, squishy cell-like forms. Marisa, on the other hand, designed each point of her shapes with meticulous care — forming a classic Escher-style tessellation of what appear to be (Scotty?) dogs.
Samantha and Maayan developed compositions with highly interesting and carefully composed shapes. In particular, both of their projects possess marvelously stimulating negative shapes — the spaces between the positive forms.
In addition to the above students, we’d also like to acknowledge particularly strong projects by Omar Cheikh-Ali, David Frank, Aman Tiwari, and Jen Liu for the high caliber of their responses. We’ll do our best to keep these Staff Pick announcements diverse and fresh.
We do realize that last week’s itinerary of Deliverables was fairly heavy. This was reflected in the fact that, out of 84 students, thirteen, or about 15%, did not turn in a Wallpaper submission — we can only assume, because of lack of time. Ouch. We hear you, and we will be more sensitive to balancing the load better in the future.
Of the 70 students who did submit a Project-03, the average score was 2.1/3, and the median grade was 2.0/3, with a standard deviation of 0.4.
I was going for a fabric pattern more than a wallpaper. I created a gradient for each line, sine and cosine, and randomized the stroke weight for a more unique stroke patter. Behind the bold sine and cosine lines, are a thinner, heightened sine and cosine patterns. The intended effect is a mirage of sorts.
I got my inspiration for my wallpaper from Minnie Mouse, since I was watching a Disney Movie a couple nights ago. The red and white dots were part of her dress, which are highly recognizable, and the black belt and yellow belt buckles serve to characterize the dress.
I wanted to have a wallpaper I liked without trying to do something too ambitious. We’d been making so many vertical stripes with the other assignments, so I wanted to switch it up and use horizontal stripes. I have French heritage, so I decided that this would inform my wallpaper. I went with a sailor shirt pattern. I added some 1950s French bikes to complete the feel. I wanted to switch to a more basic motif, because the bikes don’t really fit into each other very well, but I decided to keep them, but get rid of some of them. The color difference between the wheels and the stripes adds some depth to the wallpaper. I could see myself wearing it, although probably after some minor edits.