[ Fig 4 ]
The potential for this work is far reaching, using both CG animated and ‘real-time’ techniques. A one day workshop which facilitated an audience of 160 people from the age of seven upwards, was particularly successful in engaging young minds, linking 3D CG material with physical material issues.
[ Fig 5a and 5b ]
3D CG tooling has also been explored beyond simulation to create or define new methods of design in a contemporary fashion context. Many limitations and defaults in using computer graphics appear because the processes are constantly compared to physical processes. It is possible, however for the anomalies of the medium to come into their own and provide potential media and processes for designers to create screen based works that achieve ‘the extraordinary’. These may not reach the high street in a true form, but the most avant-garde and creative of ‘catwalk’ fashion rarely does. In the most extravagant sense it may exist solely within a catwalk context but will inevitably influence production for high street and the range of commercial collections inbetween. This is where designers such as Alexander McQueen and Hussein Chalayan create both the unobtainable, and perhaps the unwearable. 3D CG has the potential to be explored as a medium on this level. The attainment of CG skills is not easy, particularly in relation to building garment forms, however the research has shown that it is possible for the designer and a CG operator to develop a dialogue to evolve concepts and new forms of practice. Working with fashion designer Shelley Fox, the ARHB Innovation award supported enquiry of how this type of dialogue may be developed to create ‘future fashion’. In both historical and contemporary contexts, research up to this point proffers ongoing lines of enquiry.
[ Fig 6 ]
Current investigation includes using the digital methods outlined, as a form of guise, to explore gesture as an expressive form, presenting a portrayal or self-portrayal, incorporating structural notions of absence and presence. Visual reference to the form and movement of the body, outlined by the kinetic nature of the garment, which is deliberately rendered as a cast, may define a character. The intention is to create an autonomous work, a highly ‘crafted’ digital piece, where the CG medium truly evolves as a medium in its own right, the object remaining onscreen. Further images of work past and present can be found www.researchatcsm.com/janeharris/
Credits:
Mike Dawson
Ruth Gibson
The Museum of London
Central Saint Martins College of Art and Design, University of the Arts London
Arts and Humanities Research Board (AHRB)
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