Contrapunctus

essential pivot of metered composition.
beyond logic, art invention,
beyond words, art logic.


beyond logic, art invention:
the invention turns previous forms - continuous radical transformation.
beyond words, art logic:
the logic is succinct, yet it cannot be consumed by theory.

(Poetic form taken from Zazenshin by Zen Master Dogen)

Contrapunctus

The Logic, Counterpoint And The Visual Forces
That Shape Root2Art Composition

Other Pages In Root2Art Geometrics 1. Firstmodel: The significance of the square root of 2 within the geometry of Root2Art 2. Manifold Unfolding: The varied use of repetition in Root2Art design and composition 3. Contrapunctus: The logic and visual forces used within Root2Art composition 4. Axis-mundi: How ancient influences have shaped my graphical digital art language 5. Polar-coaxis: Recurring sacred and esoteric geometric themes in my art 6. Death Of Modus: The conceptual architecture of complex abstract design 7. New Direct Sadness: Finding a pure and unique modern expression in Root2Art

Counterpoint in Composition 1. Vertical/Horizontal and Tonal Logic Greyscale The scale I use, seen as percentages of black, is 0%,25%,50%,75%,100%. The Contrapuctus 3D piece seen at the top of this page, was actually the first composition I created using this 5 tone scale. All previous motifs were defined using only black, white and a mid grey (50% black). I actually produced some of my most distinct motifs using just 3 or 2 tones. Many of the later works on this site use both a 7tone scale and a full (8-bit) 256 greyscale, although this number has little significance as it is simply the means by which I render a full black to white graduation. The tone chart, above right is a scale I designed to assess values for printed output. The printing technology I now use, however, is so well calibrated that the ideal values described above left produce perfect printed results. Tonal Symmetry Logic One key device I have evolved in my work is something I call tonal symmetry. A simple demonstration of this can be seen in the logic diagram above. In essence it is a simple tonal counterpoint exercise where horizontal elements @ (25% grey) is balanced by vertical elements @ (75% grey). This provides an interlocked grid structure onto which the composition is set. The real invention comes at the point where vertical and horizontal intersect. The simplest solution to this might be something like that seen below left, but that would be plane dull. The rotating squares in the animation below, indicate how the Square root of 2:1 proportion* meters the growth of this simple motif. *In a square of sides = 1, the distance between opposite corners = root2. Counterpoint in Composition 2. Directional Emphasis Comp 1 and 2 Comp 3 Compositional Movement Directional force and movement within a visual composition is produced by all shapes to some degree or another. Essentially, ordered variety of form will create movement around a composition as the eye will naturally move from areas of activity to areas of inactivity and vice versa. All the motifs from 3 through to 10 have a diagonal directional emphasis, but achieve it in varying ways. Compositions No.1 and No.2 contrast strong diagonal forces with a non-directional, centrally focus motifs. No.5 is an invention on a theme of symmetric form and tone which creates a diagonal passage through the composition without using any significant linear components. The ‘type’ of symmetry here is a conceptual symmetry of themes and parts as opposed to a literal axial symmetry like that created by a mirror and seen in No.10. This thematic symmetry, however, in this motif does operate about an central x and y axis. We might think a simple bold arrow or bold stripes might produce the strongest directional movement, but I believe there are much stronger compositional solutions at hand with the use of a little invention. Take a look at No.4. We see two points of focus at the ends of the arrows, but this intensity is quickly lost as we move into the composition leaving dead areas. The square composition is cut in half by the arrow and there is no essential and continuous unity between the negative spaces around the arrow. A simple jarring and discordant arrangement like that in No.4 may well be desirable if this is the expression that is sought. Compare No.4 with the continuous and evolving movement in No.6. This is one of my favourite motifs and I have pretty much exhausted its use over the years. Its geometry is very pure and it creates a flowing varied movement with very little fuss. No.9 is quite amorphous by comparison to the rest of the motifs, but still, nonetheless creates some varied forces. No.11 and No.12 create a rotational movement with no diagonal emphasis. As I have discussed previously on this site, very rarely do I utilise linear stripes in my work like those shown in No.8. This is partly due to the somewhat arbitrary nature of the geometry needed to define them, but more simply, it is to do with their intrinsic lack of progressive variety. One way I have gotten round both of these ‘problems’ can be seen represented in No.7. The type of visual dynamic however creates another problem of its own. This is the ‘Op Art’ phenomenon, which whilst providing an instant effect, for me has more to do with sensation and illusion, than order and beauty. Both No.7 and No.8 are still, however examples of emphasised directional movement within a visual composition.

Historical Context Directional and Tonal Counterpoint Campidoglio designed by Michelangelo Detail of photo by QT Luong Michelangel Campidoglio Capitoline Museum Michelangelo’s vertical elements spanning two stories, in a supreme example of balance and counterpoint. Jameh Masjid, Isfahan, Iran Detail of photo by Keith Mellnick Both these buildings show a bold use of counterpoint between relief and flat elements. This simple contract creates a powerful dynamic which I tried to employ in the 3D piece seen at the top of the page. Detail from David Best's Temple of Honor from the Burning Man Festival Images from mayhem-chaos.net David Best @ wikipedia burningman.com Detail from David Best's Temple of Honor David Best’s Temple of Honour 2003 is a feast of intricate greyscale geometric designs contrasted against bold sculptural forms. The geometric patternation he has used emphasizes the 2dimensionalness of the plane surfaces making this contrast very powerful. I would love to know the source of these ‘Islamic-like’ designs, they may well be Best’s own invention. I only discovered David Best whilst making this site and am keen to see more of his work. cezanne - The Large Bathers Note the opposing diagonal emphasis created by the left and right halves in Cezanne’s Large Bathers. For me this is one of the very great compositional masterpieces of the last 200 years. Cezanne is widely known for his pioneering uses of colour modulation in creating pictorial space. However, the tonal structures seen in his vast body of paintings, work equally hard to create form, movement and space. I’ve been fascinated with this painting for many years and its strong directional counterpoint is something I’ve attempted to examine with the Contrapunctus pieces. See Comp 1,2 and 3. islamic Calligraphy Hokusia - Great Wave College Piece Michelangelo Creation of Adam

Contrapunctus

Key Compositions

Nils Völker

Sixty Eight from Nils Völker on Vimeo.

Source : http://www.nilsvoelker.com/

VULCAN

(Laboratory for Creative Design, Vulcan. View of the installation at Parkview Green, Beijing)

At 8.08 m long by 2.88 m tall and made up of 1023 individual 3D printed units, the installation conceived by Yu Lei and Xu Feng, founders of Beijing’s Laboratory for Creative Design (LCD) has been presented as part of BJDW 2015 at Parkview Green.

Challenging preconceptions of 3D printed objects as limited to souvenir making, or small-scale objects, LCD’s designers have developed radical new ways of applying the technology to construction. 

LCD’s Yu Lei said “Vulcan represents a new reality – that modern architects are able to achieve their ideal design quality from concept to construction using digital design and fabrication methodologies. This development will increasingly blur the boundaries between technology and art.”

Named after the latin term for volcano and the God of Fire in Roman mythology, Vulcan symbolises a sense of fear of and respect for the unpredictable forces of nature, while suggesting the fragility and courage of human civilisation. The arched structure is akin to a mushroom cloud that forms during a volcanic eruption.

Source: http://www.domusweb.it/en/news/2015/10/10/laboratory_for_creative_design_vulcan.html

Shohei Fujimoto

trace #ribbon | 動くとのこる。のこると動く。 from Shohei FUJIMOTO on Vimeo.

Moment in Emotion #calligraphy (Expo Milano 2015 | Japan Pavilion) from Shohei FUJIMOTO on Vimeo.

Source : http://sfjmt.org/
Source : https://vimeo.com/user7415036/videos/sort:date/format:detail

Jewelry : Akiko Shinzato

akiko shinzato focuses another skin jewelry collection on enhancing one's face

akiko shinzato focuses another skin jewelry collection on enhancing one’s faceall photos by runa anzai, courtesy of akiko shinzato

aug 05, 2015

akiko shinzato focuses another skin jewelry collection on enhancing one's face

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akiko shinzato focuses another skin jewelry collection on enhancing one’s faceall photos by runa anzai, courtesy of akiko shinzato

society is obsessed with beauty and the power it is able to project. from simple enhancements like make-up, to the more involved route of cosmetic surgery, we continue to seek ways in which to tweak our appearances and alter how we are perceived by others. with that, someone may not always be as they seem… physically. this is particularly evident through social networking sites which allow users to broadcast themselves in a way that may not always be 100% — whether it’s through edited photographs, or the elaboration of certain points of one’s profile — whereby one can create an ‘identity’.

head / eye piece made from gold plated brass, vegetable tanned leather and mirror

observing these societal behaviors and our pursuit for beauty and physical attractiveness, akiko shinzato has delicately crafted ‘another skin’, influenced by the aesthetic and structural idea of a pair of pince-nez — a style of glasses used throughout the 19th century that simply pinched someone’s nose to stay in place, rather than using the support of arms. the collection of jewelry addresses the part of the body that is focused on during the first impression, and what people seem to care about most: the face. utilizing precious materials such as leather and crystal, in combination with soft metals, the london-based designer explores how easily one can change their appearance.

nose piece made from gold plated brass, vegetable tanned leather and mirror

‘another skin’ is composed of two series: ‘wearing make-up’ and ‘putting on someone’s identity’.

‘putting on someone’s identity’ is a set of leather pieces in which the wearer mixes her own facial features with that of others, while reflecting on herself in the mirror at the same time. each element partially hides particular characteristics of the individual, while unveiling a completely different identity.

mouth piece made from gold plated brass, vegetable tanned leather, cultured fresh water pearl and mirror
ear piece made from gold plated brass and vegetable tanned leather
head / eye piece made from gold plated brass and swarovski crystal

‘wearing make-up’ uses precious gems to create jewelry that is formed to adopt the features of a painted clown; fragilely hanging from one’s face. void of any kind of humor or foolishness of a comic entertainer. in a way, it speaks to how color and sheen in make-up are used to highlight certain.

‘another skin’ questions norms of beauty, and to what lengths we would go to improve our appearance. 
nose piece made from gold plated brass and swarovski crystal 
head / eye piece made from gold plated brass and swarovski crystal
cheek piece made from gold plated brass and swarovski crystal

credits:

model: kitty garrett
hair & makeup: yoko minami
stylist: kei terayama

Source : http://www.designboom.com/design/akiko-shinzato-another-skin-jewelry-collection-08-05-2015/

SHADOVVS by Matt W. Moore

shadovvs is the latest project from american artist & designer matt w. moore. the project was undertaken during a 2 month stay in oakland, california, and a 2 week residency within 886 geary gallery where moore constructed a new body of work that fuses his bold, graphic, op-geo vocabulary with extruded mosaic forms that bring the works to life in three dimensions.

the series is activated by the angle and intensity of the light source, be it a deliberate directional

 lamp, or the natural curve of each day’s sun cycle. symmetries and depth are revealed in a 

spectrum of proportions, and color palettes are expanded upon, into numerous parallel hues 

revealed by the shadows.

the exhibition is comprised of 5 chapters, each with its own concept and aesthetic. a series of 

greyscale cut-paper mosaics created in montreal in fall 2014 is displayed as evidence of the 

explorations that led to the layered sensibilities of the more elaborate colorful works created during this bay area residency.

a view of the exhibition 

Source: http://www.designboom.com/art/shadovvs-by-matt-w-moore-08-20-2015/