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This was the initial wireframe for my new Interaction Design website, at ixd.aevumdesign.com.
It's meant to be a business case for getting Universities to implement Interaction Design programs
Wireframe concept four was similar to three, but we felt it added too much noise to the tweet area.
This is the fourth of five quick concepts for the "We Love You, Too" Notable press page.
ZURB is a close-knit team of interaction designers and strategists that help companies design better (www.zurb.com).
Este é um wireframe para uma bateria de layouts de um projeto.
Na behince: www.behance.net/gallery/58210907/Wireframe_Model_1
It's Valentine's Day and I'm looking through you. I know you. You are true. :-)
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See a related pic here. ;-)
Records and Wireframes presents moving image works by artists Paul Dolan (UK) and Paul Walde (Canada) alongside skeletal remains of the extinct Tasmanian Tiger, on loan from the collection of the University of Dundee’s D’Arcy Thompson Zoology Museum. Curated for NEoN by artist Kelly Richardson to accompany her exhibition at DCA, ‘The Weather Makers’, ‘Records and Wireframes’ explores themes around climate change and screen culture with allusions to the past, present and future.
In the expansive video installation Requiem for a Glacier (2013), Paul Walde memorialises British Columbia’s Jumbo Glacier, or “Qat’muk”, now under immediate threat from global warming and resort development. The work shows a four-movement oratorio performed by an orchestra and chorus atop the area’s Farnham Glacier. Over thirty-seven minutes, Requiem for a Glacier features panoramic glacier views alongside the oratorio that was composed by converting data such as temperature records for the area, into musical notation.
Requiem for a Glacier (2013), Paul Walde
The theme of disappearing landscapes, and data as a form of media archaeological artifact, continues in Paul Dolan’s real-time video work, Wireframe Valley (2017), which presents the gradual disappearance of a digitally constructed landscape, revealing its virtual origins. The defining features of the landscape degrade over the exact duration of the exhibition. In the context of global warming, where the physical planet is increasingly incapable of sustaining life as we know it, our refuge amongst digital environments may not placate us for long.
Wireframe Valley (2017), Paul Dolan
Should we fail to alter our course, predictions for the fallout from large-scale, unchecked industry are nothing short of terrifying. Some scientists believe that a 6th mass extinction event is already underway through the “biological annihilation” of wildlife in recent decades. Recent studies suggest that the Tasmanian Tiger’s extinction in the 1930s was itself caused by drought.[1] Due to human overpopulation and overconsumption, roughly 50% of the earth’s wildlife population has been lost during our lifetime. A recently published study in the peer-reviewed journal Proceedings of the National Academy of Sciences forgoes the usual sober tone and refers to the gravity of the loss as a “frightening assault on the foundations of human civilisation”. [2]
Carrying on from themes explored in Kelly Richardson’s exhibition The Weather Makers at DCA, Records and Wireframes shows the work of artists who, through their art, are creating digital records expressing how we understand our world today. These art works, like the fragmented thylacine skull, may become artifacts that future archaeologists consider in their search to appreciate how, in 2017, inhabitants of Earth understood the global environmental crisis facing them.
About the Artists
Paul Walde is an intermedia artist, composer, and curator. His work has been exhibited across the United States and Canada, including View From Up Here: The Arctic at the Center of the World at the Anchorage Museum, Anchorage, USA (2016), All Together Now at the University of Toronto Art Centre in Toronto, Canada (2014); Beyond/In Western New York (2007), a biennial organised by the Albright Knox Gallery in Buffalo, USA;. His work is held in several Canadian and American collections including the Museum London, Canada and the Anchorage Museum, Anchorage, USA. Walde currently lives and works in Victoria, British Columbia, where he is Associate Professor of Visual Arts and Department Chair at the University of Victoria.
Paul Dolan is an artist, animator and musician, interested in the materiality of media and how it relates to ideas surrounding ‘nature’ and ‘environment’. He is a current PhD candidate at Northumbria University where he is exploring changing notions of materiality within computer simulation-related contemporary art. Wireframe Valley (originally from 2015, reproduced in 2017) was commissioned by Queens Hall (Hexham, England) and included in the exhibition Land Engines alongside established artists using video game design tools to create works that explore computer generated landscapes, including David Blandy (UK), Jen Southern (UK) and Mark Tribe (USA). He currently lives and works in North East England, where he is Senior Lecturer of Animation at Northumbria University.
Supported by the High Commission of Canada to the United Kingdom
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[1] www.theguardian.com/science/2017/sep/28/tasmanian-tigers-...
[2] Gerardo Ceballos, Paul R. Ehrlich, and Rodolfo Dirzo (2017) ‘Biological annihilation via the ongoing sixth mass extinction signalled by vertebrate population losses and declines’ Proceedings of the National Academy of Sciences of the United States of America. See www.pnas.org/content/114/30/E6089 Accessed: 25/09/17.
Opening Preview Thursday 9 November 5pm – part of our Gallery Tours and Exhibition Opening Night programme
SCAN Tour
Images: Kathryn Rattray Photography
A game-style model of a Stanley Steamer, based on a 1907 model of the car.
Its relatively high poly for a vehicle but I was going for quality over worrying about poly count (and anyway, if this was part of an action adventure game set in Victorian London, say, there would be very few cars on the roads slowing the game engine down as barely anyone owned a car back then...of course horses on the other hand... :XD: )
Relatedly, if a studio made a steampunk action adventure game where I got to race around Victorian London in a Stanley Steamer, solving murders or supernatural occurrences I would put my name down for a pre-order right now dammit! >.<;
Stats:
3Ds Max 2009, mental ray, Zbrush for the normal map of the leather seat but Max for the rest. Mainly 1024 textures, the mud is on a separate UV set so can be removed easily.
The next stage in my Creative Pact project - I decided to do the thing properly this time. In the past when I've done designs for this site (note that in spite of the fact that I've never got anything online and indeed still haven't bought the domain name, I've been designing it on and off for the past 3 years) I've been continually sidelined by the simple matter of deciding what to put on the page - get halfway through a design, then think "oh, maybe I should include this content too" and then abandon ship because it all gets too confusing. So this time around, and with Djeli having bought the OmniGraffle wireframing app for the iPad, I decided to do some proper (if rough and not very advanced) wireframes, so I'd be thinking more about what I wanted on the page rather than what colour it should be. So this evening I imported a few (really too few, but I had a few difficulties) web-wireframing stencils into OmniGraffle and had a stab at doing a wireframe.
And this is the result. The requirements of the site aren't that complex and really the most complex bit is what to show in the nav and how to display it, but I think a sort of 2-layer accordion will be the best way to deal with that. This page is a detail page for the music section - the idea is that the main music page will be mostly a list of works, each of which will click through to a page like this, showing score cover, a player to listen to a snippet of the score, a link to download the PDF (this will probably go to Lulu.com so I can track downloads and get an idea of how appealing this is to people) and some notes on the work.
(and no, that's not what the page content will actually say :-) )
Wireframe sketches from the AEM.org web redesign created while working at Northwoods Software.
Round 1 mainpage concept 1D.