MEDA 301 – Final Project Blogs

Week 8 – After exploring Out of Hand exhibition, we continued the theme of Materialising the Digital by forming into groups and recreating a work. Using light, shadows and displacement in the form of multisensory interaction we attempted to recreate Olafur Eliasson’s work ‘Your Uncertain Shadows’. Using a combination of 4 different coloured lights we placed them alongside each other projecting onto a large white canvas. We did have a white light but once we took that away we realised it only limited the colours and the work looked much better without it. The use of light was softer allowing to fade out rather than have the hard cut border which would have occurred if we used a projector.

me              Iz

By stepping in front of the lights you cast multiple coloured shadows onto the canvas, to add even more effect we placed a few more coloured lights on the other side of the canvas as well so that two people could create shadows at the same time from either side. This created an effect where two people that couldn’t see each other (only their coloured shadows), were moving together in the same piece, and creating a beautiful magnitude of colours. Looking into progressing this work we thought about adding more light, including chromatic sensors or even adding sound.

Week 9 – We wanted to continue investigating the projection of colours and the inclusion of sensors as well as include the theme of satire in order to accommodate everyone’s specialties from the group. We began by projecting a large coloured video onto the wall with a human size silhouette of the hulk in the centre of it. The aim was when a person stood in front of the silhouette then the sensor would react and project a contrasting moving black and white geometric pattern onto the person where the silhouette was.


The problem we found with this piece was projecting onto the person, what the person was wearing had a big influence on how well the projection looked. As well as that, the person standing in the piece couldn’t actually see what was happening only audiences watching the person interact could see the change.

Week 10 – We decided to move into another direction this week, looking into the idea of facial mapping and projecting onto a face, using the work of Nobumichi Asai as inspiration. We realised the difficulty in projecting onto peoples’ faces and began testing by projecting onto a Styrofoam face. Again by using the theme of satire we projected different portraits onto the face (some still and some moving) with an addition of sound that works with it e.g. Johnny Depps’ face and Pirates of the Caribbean theme music accompanying. The audiences’ reaction was that the look of the face being distorted and not fitting into the Styrofoam face was more interesting than the image matching up perfectly.

Week 11 – Again – I think because of the diversity of the group – we moved on to something different this week. Moving into a theme of horror we wanted to create a gore inspired scientific experiment prop to the likes of Frankenstein. We were also inspired by the footage of Russian scientists attempting to reanimate a dead dogs head the footage was the biggest influence for us to incorporate sound to the piece. Using projection, we wanted to place both still and moving images onto glass jars. After experimenting with the projections and sound we came across many difficulties and the work with this design was very unsuccessful with none of our members being satisfied. We decided to go back to scratch… the work we recreated by Olafur Eliasson using shadows. We took another work by Dpt. And Laurent Craste, Dancing Shadow Sculptures as inspiration and tried to create a piece focusing on light and shadows. At this point, our group decided to split with one member focusing on shadows, another on gore and myself and Isabelle going back to jars and projection.

Week 12 – Using the theme of ‘life preservation’ Isabelle and I played with the idea of medical procedures and genetic modification. In two different jars we placed a bone with a screw drilled into it and a chuck of meat with aluminium sewn into it. This was slightly inspired by a 3D printed work at the Out of Hand Exhibition by Anatomics Pty Ltd Melbourne Australia ‘AnatomicsAcrylic Custom Cranial Implant’, where subatances are imbedded onto humans to prolong life.


In another two jars we had carrots, tomato’s and apples and accidently when someone else’s work crossed over with ours some numbers were projected onto it. The vibrant green looked really effective on the red tomato and orange carrot. So disregarding the meat we began to play around with the fruit and projecting genetic codes for fruit and veggies onto them. During these experiments we discovered that water creates a really effective magnified visual of the fruit and also brings a relevant problem of rising water levels to attention.

Week 13 – In the final week, we finally built on the previous week rather than starting from scratch. Bringing in multiple jars filled with a variety of fruit and veg and filling them with differing amounts of water, we placed them at eye level and projected onto them. The aim is to explore the global increase of genetically modified fruit and vegetables, as agricultural conditions change and water levels continue to rise. The information that is projected is from the Australia New Zealand Food Standards Code – Standard 1.5.2 –Food produced using gene technology and a series of genetically modified PLU codes found on stickers placed on fruit and vegetables. Our work can be associated with Vincent Van Gogh’s still life with vegetables and fruit because of the layout of fruit on the table which looks neat and organised. However, to push our theme more and to stray from still life painting to a science project we put fruit in jars and then labelled the jars with the scientific names of the fruit and veggies inside and numbered them by how many tests had been done on them. This way our work would rather relate to the work of Piccinini whose art practice explores how technology, nature and the artificial are changing society.

veg           code



CADG290 – 3

After breaking down information I began to develop a site map and how all the pages would intertwine in the simplest and most user friendly way possible. I narrowed it down to the three common tasks of any user who is involved with the Caringbah Markets, that is: Stall Hire, Visiting and Location information. All information distributed on the original Caringbah Markets site could be categorised into these 3 navigation buttons.

Screen Shot 2017-05-26 at 11.00.48 AM

I found by minimalizing the navigation bars there was less repetition throughout the site. I removed a contact button because there is no need for contact unless you are hiring a stall in which case contact submissions, postage address and phone numbers will be provided under those headings. Location became its own page due to the complexity of the details regarding how to get there as well as including parking and public transport. While analysing other market websites I’ve found the simpler and minimalistic approaches are definitely the most user friendly for all audiences and in most cases, more visually appealing.

CADG290 – 5

Continuing on with my final prototype, I began to create working buttons, incorporating colour and images and aligning and organizing all the information efficiently. Using the home picture of the Caringbah Markets I used Adobe Kuler to create a colour scheme that would be repeated throughout all the pages. I spent a lot of time aligning margins and a few of the images I used were sourced from Creative Commons. Once I was happy with how the prototype looked and worked, I gathered some volunteers to test and comment on my website.

Still keeping the same goal of aesthetic simplicity and efficient user interface design, I monitored volunteers as they searched through the prototype completing a simple user test I had given them. The first was to find out what time the market opened. All volunteers found this relatively easy however, when compared to the original site most (especially those with poor eye-sight) preferred big eye catching important information on the home page. As a result, I added the opening time and the amount of stalls as well as the next market date on the home page in a large and eye-catching manner to suit these audiences. Second was to find where to park if you were to drive. Everyone found this extremely easily. Finally, they were asked to follow through with booking a market stall without filling out any forms, which was again easily done, however when compared to the original site some volunteers preferred all the forms on the one page which makes me think whether the option to scroll rather than click [next] might have been a better option. After developing the prototype since the wire-frame and taking into consideration the feedback from others this is a sample of how the final pages looked:

Proto 1   Proto 2

Proto 3   Proto 4

I’m happy with the process and the result of my prototype. Due to me restricting the space on each page I learned a lot about spacing and alignment and not including anything that isn’t necessary. However, I feel like by including the option to scroll down on each page allowing me to include more and create a larger spread of information the outcome would have been very different and possibly more effective, that’s something I’d like to work on next time.

CAGD290 – 4

I have chosen to use Adobe InDesign to wire frame and prototype my website rather than Muse because I feel I gained more experience using InDesign and it is easier for me access at home to work on. However, before I started designing my wire frame on a computer program I drew a variety of sketches of how I would like the website to look based on the websites I’d previously looked at for inspiration. After comparing and choosing a layout I thought was appropriate, I started my wire frame… here is how my wire frame pages turned out:

Wire Frame 1                               Wire Frame 2

Wire Frame 3                              Wire Frame 4

mmmmmm                              nnnnnnn

hhhhh.png                             pppppppp


The concept of creating a wire frame first is to provide an example of the functionality of the website before getting too involved in how it will look aesthetically. During this process I realised that I needed a consistent navigation bar throughout the website which is not included on the main page and I had not previously designed. Although most commonly navigation bars are consistent throughout the whole site including the main page, my biggest reason for not including it on the home page was because there would be a repetition of buttons. Also if I had of kept it as a side bar like the rest of the pages then there would be nothing to fill the page with and I didn’t want to create unnecessary clutter. Although the title ‘Caringbah Markets’ is a navigation tool to go back to the home page, I needed something more obvious so all users could easily identify and navigate themselves back to the home page and other pages.

CAGD290 – 2

This week I focused on researching similar websites and gaining resources and inspiration to use as development for my own web design. I was drawn to the simpler designs usually with one focus image and a white background such as the Finders Keepers Market, Camden Lock Market and Dublin Flea Market. It looks cleaner and makes navigation easier for users as well as defining the theme of the market e.g. vintage, modern, festive, family friendly etc.  By navigating through other market websites I was able to gather common relevant information needed and how they can be categorized into navigation bars.

  • Home/About

(Instantly see what the website is, visually attractive and easily accessible for everyone because the market’s try to target all ages and genders)

“Last Sunday of every month”

Next Market

What is sold – Food, Fashion, Children, Second-Hand, Plants, Tools

  • Time/Location

7am – 1pm

Irrespective of weather conditions






  • Stall Hire

Food                                                                      Market

Availability and Price

Form to request space

Terms and Conditions

Food Requirements

  • Contact

Email Form

Phone Number – Booking Clerk

Postal Address

Social Media

CAGD290 – 1

I’ve chosen Caringbah Markets as my local attraction and will be redesigning their website in a way I hope will enhance its visual design and create a more efficient navigation and usability for audiences of all ages.

Picture1      Picture2

Throughout the webpages there is definitely a consistency in the headings of each page and the user can always identify the website. Buttons all work directing the user to the right page and the home page is always accessible. However, I believe the biggest flaw with the website is the information architecture; the organisation and presentation of information on each page is extremely unorganised. Although the website proves it has working navigation and direction, it has been designed much more extravagantly and cluttered than it needs to be. It is unnecessary for a simple monthly market to need 7 navigation bars. Aesthetically, the website looks old and outdated. Typography is an issue for me throughout the website, although there is consistency in font, each line varies in size, colour and style whether it’s bold, italic or underlined. The current navigation and heading of each page creates a sound hierarchy which is disrupted by the cluttered information beneath. My goal in creating a redesigned prototype for Caringbah Markets is to simplify the design and navigation, and to declutter and organise information so access is clear, quick and simple. I would also like to redo the colour scheme, because although blue is the obvious main colour the palette and images throughout the website all clash.



‘Future Events’ – Out Of Hand Exhibition

Upon attending the Out of Hand exhibition at the Museum of Arts and Applied Science one piece that really grabbed my attention and embedded itself in my memory was ‘Future Events’ by Louis Pratt. The scale of the work looks small and simple in comparison to other works throughout the exhibition, however on closer inspection the detail and complexity of its form is extremely intricate and very intriguing.

Louis Pratt is a young designer who studied at the University of New South Wales and showed exceptional artistic drive and execution throughout his study graduating with 1st class honors. He was involved with the reputable ‘Sculpture by the Sea’, Australia’s largest outdoor exhibition which is held annually in Perth and in this case Bondi, Sydney. He was recognized positively and as a result was awarded with the UNSW Alumni Artist Award for his ‘cutting-edge’ works. Presently, Pratt’s most recent work ‘Future Events’ which is the breadth of this blog is being held at the Museum of Arts and Applied Science as mentioned, bringing him a larger audience to his modern techniques.


The physical construction of the work was designed using a 3D printer. The materials chosen which the 3D printer used to output the work, was plaster resin with colour pigment. The whole/beginning process included artist Louis Pratt using himself as a model, where he scanned himself exemplifying multiple exaggerations and expressions. Using these scans, he “digitally meshed the data to create this piece” (Pratt 2017). The process of this work would not be Pratt working as a lone genius, especially due to establishing himself as the model. He would have needed help because the process of 3D scanning would have involved someone using the technology on him. Then from that scan the raw data would be processed and gathered into a 3D digital model on screen, which was then meddled and intertwined to create the codes for printing.

This work as well as many others throughout the exhibition emphasized the progress and potential of 3D printing. This technology has been around for a while (since the 1980’s) however, has only recently began to rise in popularity and exploration focusing on small projects (as large as current 3D printing models can allow) in depth. 3D printers, using a choice of a variety of materials, can build three-dimensional objects with layers being approximately 0.001 to 0.1 inches in thickness, allowing us to design, create and freely complete projects with near perfect execution. In this case 3D printing is a new and exciting technology which is currently being explored creatively and practically, and yet to be revolutionized to its full potential. Understanding this, Louis Pratt’s’ work represents itself as a piece that symbolizes where we are in the evolution of 3D printing.


‘Future Events’ was highly experimental to successfully demonstrate Pratt’s artistic approach; that is, to take people from the real world into the digital world of manipulation and return it back into the real world as a 3D object. During the digitalized form he will execute many algorithms to adapt its sculpture “then rapidly prototype back from cyber space into the real world” Pratt (2017) using 3D printing experimentally to explore casting and materials. Not only does this art work demonstrate our current stage in 3D printing technology but, “It also references quantum computing and the simultaneous existence of multiple quantum states.”

Quantum computing, which is a deep interest to Pratt, is another modern piece of technology, which unlike the computers we’ve been using, can perform much more demanding equations in a much quicker time, revolutionizing science and art. The difference; being right down to the way the computer harnesses atoms and molecules to achieve memory and processing. In the future as we see this technology progress even more and become more affordable, the way we explore the world will change drastically just as it happening now with 3D printing.

“The intersection of art and science is so mysterious and magnetic and it will always puzzle people and push them to look for clear explanation.” (Pratt 2017)

The narrative of ‘Future Events’ is physically and aesthetically uncanny and the theory behind it is, (personally coming from a younger generation) very relatable. Pratt describes the work as “a commentary on the multiple selves required for contemporary life” (Pratt 2017). The work includes four bodies and faces all entangled into each other, almost fighting to separate and each body having a deformation in some way. This reminds me of all the different personalities we advertise, each one deformed and never truly perfect. For example, throughout social media and to all our friends we have the need to portray a happy perfect life, publicly displaying of all the fun and happy moments in our life. For employment we project professionalism and aim high in an evolving world that aims for us to be even higher. Then we have our true self that represents every other real emotion as a human that is mostly hidden from the public society because those things are considered too imperfect. The pressure to conform to different social and professional institutions in the modern world, I believe, is what this piece is signifying. As well as the modern technology used for its creation.

I would assume because of the highly experimental process used to create this work, the artist had not previously planned and did not know exactly how the final sculpture would look. The process of scanning a real object, manipulating it and reproducing it would have a very unique outcome every time and it would be near impossible to make the exact same work more than once from scratch. Especially when is it a living object being used as a model to scan and adapt. This makes the ‘Future Events’ piece even more captivating and Pratt’s process creates so many windows of opportunities for more experiments which would in turn create many more beautifully peculiar looking sculptures.


Physically, the work stands about one and a half flat hands tall and one hand wide, unfortunately I can’t supply the exact dimensions. I really enjoyed how minimally sized the sculpture was because it made it almost like an interactive piece. Myself and the people around me I noticed, all hand to bend down, look right up close to the glass box which supported the piece and walk around it for at least 180 degrees to really get a good visual of the work and discover what it was. By examining it so closely it not only allows audiences to appreciate and be compelled by the complexity of the design but it creates an interest that draws people to it, which without the size might not be there and people would simply quickly move past to the next work, only giving it a glance. The colour palette involves minimal cool colours which is aesthetically pleasing, the clothes are very casual making the piece and what it’s trying to say more relatable to the everyday people viewing it. The hat which each body is wearing gives it almost a performance touch, because the final sculpture of all the melded bodies looks like a performance caught frozen in action.

The material chosen throughout the 3D printing process of ‘Future Evnts’ was plaster resin which was visually and aesthetically effective. It would be interesting to see how the work would look with a different material for the final print, 3D printers allow many materials such as plastics, rubbers, ceramics, glass concretes and metals (Attaran, M, Stidham, P 2017). This however would definitely impact the colour resolution, the weight and ability to stand in position and also change the reflectiveness and attitude the piece is trying to portray. The opportunity to explore and experiment with these materials however is still available.

In conclusion, Louis Pratt has successfully explored through multiple processes and technologies a way to present his passion for quantum computing, multiple quantum states, 3D printing and visually expressing his views on modern life. It is a great piece in the early days of 3D scanning and printing to inspire many more projects and influence people to continue to experiment with these new technologies.