3D Modeling and Animation

After several meetings and discussions, we decided to use “Recovery” as the main concept of our project, and intended to visualise the ocean environment to deliver our concept. Particularly, we are going to apply sound, animation and interactive equipment to our site.

Current Work

So far, we have a 3D environment and an animation for the main projected wall.

The main projected wall

The main projected wall

3D Animation

Firstly, we would like to attract the visitors’ attention to our main projected wall. So we would like to do a 3D light show on the wall. Here I attached the animation I have created so far.

I used Blender for 3D modeling. Particularly, I applied a modern hologram texture in Cycles render for the pillars to make a better light effect.

The texture nodes and key frames for the animation

The texture nodes and key frames for the animation

Here I attached a picture of the test result. As we are still learning projection mapping by Madmapper, we can only map a picture on the wall now. We will keep studying in the following weeks before presentation.

The test result of one frame of 3D animation

The test result of one frame of 3D animation

When I was creating the animation and 3D view, I always asked myself “how can I create environments in which people can get immersed and how can I connect the (e)motion with the environment”? Then, the theory of Relative Motion came into my mind. Basically, I moved the shining pillars and arches to make visitors feel like they are walking into the main arch and watching the scene inside, which is the 3D environment of the ocean.

3D Environment of the undersea

According to our project brief, we need to combine environments and motion with media and digital technologies to create an augmented environment (live event, installation). So I started to think about “What elements related to ocean can I use to augment sensorial experiences in the specific site?” Because we wanted to visualise how the Winged Victory was buried under the Aegean Sea, I chose the seaweed and sand ground to create an undersea view. To make the scene more real, I referred to a video tutorial by EnigmaToots to do the glowing sand ground and the reflective sea surface.

The texture nodes and key frames for the 3D environment

The texture nodes and key frames for the 3D environment

I used the cloth modifier for the seaweed, so that they are actually swaying once I rendered out the animation. To be more immersive, the whole animated scene will be accompanied with sound effect in the future.

The undersea view

The undersea view

Projecting the undersea scene

Projecting the undersea scene

Further development

Animation: Making more animation with different elements for the main projected wall.

Mapping: Learning the mapping method and testing it in the sculpture court.

Sound: Attaching the sound effect to the animation of the pillars, and try to make a deep sea sound for the animation.


EnigmaToots, 2014, Creating Underwater Scenes In Cycles, Online available at: www.youtube.com/watch?v=yq0y8J59GJs (accessed 12th February, 2016).


Project Draft Plan

Project: Environments in (e)motion;

Time: 2016.3.29 19:00-20:30 pm;

Location: ECA Sculpture court;

Approximate Capacity:At least 30 people;

Visitors Guide Way:

  1. using lighting to decorate the visiting route (have already booked LED Lights);
  2. using sounds to guide the visitors (planned);
  3. using fluorescent paint to show signs on the ground;

Here’s the working progress of the project.

Time                       Modification

20 Jan 2016            Topic: select topics

  • Selected topics which we are interested in and consider possibilities of the achievement
  • Collected and created basic graphic design for Environments in (e)motion
  • Thought about the engagement part

22 Jan 2016            Topic: improve ideas

  • Met up with Rocio and discussed our ideas
  • Improved our ideas based on this meeting

27 Jan 2016            Topic: discussion the theme of project

29 Jan 2016            Topic: formulate concrete ideas

  • Checked the recording equipment and started to record some sound
  • Collected references about the relationship between environments and emotion

31 Jan 2016            Topic: make final decision about the project

  • Got a general idea of how to achieve the technical level of interactive wall installation and sculpture mapping
  • Having idea of projecting part
  • Book the equipment

02 Feb 2016            Topic: equipment testing

  • Tested the projector and Madmapper
  • Recorded a short video
  • Took some pictures in the Sculpture Court
  • Thought about 3D modeling and graphic design

05 Feb 2016           Topic: the second time test equipment and learn the history about sculptures

  • Equipment testing (small projectors)
  • Connecting Processing code with Kinect
  • Met with Dr Margaret Stewart to dig the background of ECA Sculpture Court
  • Form the theme of ‘Recovery’ by combining the historical background and the  current pattern of these casts

11 Feb  2016          Topic: night testing event

  • Tested the largest projectors
  • Tried the interaction between Kinect with laptop

12 Feb 2016           Topic: division of work

  • Discuss the submission one
  • Created basic visual effects for ‘Recovery’

15 Feb 2016           Topic: the second time night testing event

  • Created basic animation and visual effects for ‘Recovery’
  • tested these materials in the sculpture court

Before the Presentation :

  1. Design and print posters to promote our presentation and send the email  to the ECA public email account;
  2. Promote our presentation on the social website (Facebook, Wechat, Instagram etc.);
  3. Rent a car in advanced and then borrow all the equipments;
  4. Testing before the final presentation for several times (3+) and arrange all at the site properly;

Final Presentation Room Setting Plan : 

1. Interactive Part:

Processing & Kinect & PC

2. Projecting Part:

Madmapper & blender & Mac

3. Scene Decoration Part:

To achieve the theme of “Recovery”, our term try to decorate the center area with an umbrella and two deck chairs. Visitors can lie on the chair and wear the headphone with the setting music to fell this space.

4. Television Part:

We will put three large televisions on the east side of the sculpture court (see picture below) and play the trailer of our documentary by loop. On the opposite of this wall, there is a Planar Mosaic to show an animation we made.

4. Setting Draft : 

To project four visualizations, we need four walls and a completely dark room.  First of all, we will held our presentation during the night (after 19:00) and close all lights in the sculpture court.  Secondly, we set two projectors as below. And put a blue LED light to decorate this space.
draft plan1

draft plan


To be more specific, we planned to put two big projectors on the each site of the second floor of the sculpture court for making a big screen like a Lighting show.

What’s more, we will put another in the west area on the ground flood to project the processing part. Visitors can participant in this part with Kinect .

Sound objects will be played by speakers. (We have already booked one, maybe we need more speakers.) And during this p

For projection part, the space between screens and projectors should be blank.

5. Division of Work on the Presentation Day

Reception and introduction: Ke Niu (Hazel) & Yuan Lu (Lynn) ;

Equipment arrangement and Management:Ye Tian (Terry) & Ao Shen (Dora);

Sound arrangement:Ye Tian (Terry);

Light arrangement: Zheng Wang (Shana);

Scene Regulation: Zheng Wang (Shana) & Bei Ye (Suzie)


Equipment PART:

Have Already Booked:屏幕快照 2016-02-16 下午2.43.31

屏幕快照 2016-02-16 下午2.44.37

Date of Testing Plan:


Need Ask / Borrow / Buy Equipments :




Sound and Music

For a site-specific interactive event, sound as a significant part is able to engage the visitors in the specific environment and efficiently impact their emotion. According to the concept of our event, we have already recorded and edited three pieces of sound as demos to present the blueprint of the event’s sound. These sounds are basically used to establish atmosphere, as well as attract the attention and guide the visitors. Besides, we are also thinking about using background music, or even live music to match the projection mapping.


Tap Water

This piece has high sound quality and is easy to be identified. We plan to use it in projection mapping to communicate the sense of water and the concept of recovery. It sounds extremely relaxing and is able to make people peaceful and delighted.



The sound of sea utterly is the leading role of the whole mapping show. It set up a new environment within the normal one, establishing the atmosphere of the sea. While recorded the sound of the sea, we spent some time on dealing with the issue of wind’s noise. This sound can also be heared by visitors who lying on our beach chairs, using headphones. It is extremely hard to control the sounds in this site with speakers for the reason of echo.



In our event imagination, we plan to use sound as a guide to make people walk into the site and pay attention to what we want step by step. The sound of pub may be a good choice for this purpose. A clash is useful for emotion impacting. From the sound of typical human society to typical nature, the procession of recover has already begun.


There are two options here about the music. Firstly, a piece of MIDI music is being considered while the projection mapping show is on. Secondly, a high quality live music is also perfect for this project. In the next session, we will try and test in order to find the most practical approach.

The sound and music part is a significant element. The hardest part for us to deal with is none of us has any background in sound design. Considering the importance of which, we have been working on learning some sound software by ourselves. Besides, we have talked to some students major in sound design and music. Besides, echo is a site-specific difficult issue. Hopefully,  we will come up with some appropriate approaches about this part.

Interactive with Kinect

submission1  Dora SHEN


The project is called Environments in (e)motion, “environment” certainly refers to the specific site (Sculpture Court in ECA main building), and “emotion”, from my point of view, is to arouse the deep feelings of the visitors. However, when it is written in a special way with a pair of parentheses, it is more like creatively encouraging the visitors’ physical motions.

In this light, the ideal device to produce physical interaction for this project is a Kinect. As a motion sensor, Kinect can be used to detect gestures and to make interactive effects if working with other equipment and software (i.e. Processing, projectors, laptops).


So we decided to make an interactive projection on the wall in the Sculpture Court. The content will be based on our concept and immerse into the atmosphere we are going to produce. In the first submission, what we have done is basically to borrow the sensor and set the environment on the laptop for it to run, and to do some tests by running sample sketches.

So far, by using Kinect to capture motions, we can project a human skeleton onto the wall, fill in colors, pixelise the human body, or generate floating geometric figures around the outline of the human body. The immersive effect would be much better after we create a sketch that is more related to the core concept and environment settings. However, these interesting motion interactions could already encourage participations and impress the visitors. In fact, when we were testing the devices in the Sculpture Court, people who were accidentally passing by showed their interests and took out their phones to take pictures. We felt encouraged after seeing them interested in our project, even we were only doing tests in a corner upstairs!



testing Kinect


Kincet Pixelization


Alex Bradbury-Wallad. 17/02/2015. OpenProcessing Accessed from <www.openprocessing.org/sketch/186336&gt;

Amnon Owed. 15/09/2012. Accessed from <www.creativeapplications.net/processing/kinect-physics-tutorial-for-processing/&gt;


Here’s some technical issues concerning to getting Kinect and Processing to work together. It is already half way through the DMSP project, and I have encountered lots of problems during the whole procedure, here I list all the problems as well as corresponding solutions. The idea undoubtedly becomes clearer during the problem-solving process.


Setup Kinect

  • PC –  Only Kinect 360 (version one) can be borrowed from ECA music store. For a PC laptop, the drivers that are required to get it to work are Kinect for Windows SDK v1.8 and Kinect for Windows Developer Toolkit, which can both be download on the Microsoft official web site: www.microsoft.com/en-us/download/details.aspx?id=40278. System requirements and install instructions are well elaborated here.
  • Mac –  Since Kinect was developed by Microsoft, there are less support on Mac OS X, lots of additions and dependences are required, such as Xcode (as well as Command Line Tools), CQuartz, CMake, MacPorts, OpenNi SDK, SensorKinect and NiTE. Also several commands should be typed into terminal to finish activations.


Processing libraries

  • SimpleOpenNI (recommended) –  Among all the libraries designed to work with Kinect, I think SimpleOpenNI is the most powerful. It is widely used to play with Kinect, so many helpful tutorials and resources can be found on the internet. Also there are solutions to various problems while designing interactive sketches with Kinect in the Processing forum, which cover most of the questions a beginner might ask.
  • SimpleOpenNI can only be applied on Processing version 2 and before. Notice that there are two main versions: 0.27 (2012) and 1.96 (2013), most examples on the internet is written based on version 0.27. So we need to do some “translation” work for it to run on a version 1.96 library, the keyword update such as enableScene to enableUser, sceneImage to userImage, enableHands to enableHand, addGesture to startGesture, removeGesture to endGesture.
  • OpenKinect –  a library that always reports errors. Use Zadig to install the libusbk driver for each device people wish to use. This includes installing the libusbk for all the Kinect 360 drivers listed on Zadig GUI.
  • PKinect –  not so widely used.


Project Concept


Digital Media Studio Project Group of

Environment in (E)motion

Submission 1

Project Concept


This project is grouped around the concept of “Recovery”. From the imperfect sculptures sitting in an art college hall to the tired busy human living in the modern society, everyone needs a break time to getting recovery treated. No matter jellyfish or pillow, we aim to communicate the feeling of recovery in many aspects to every person occasionally walk in our space. As the designers of a site-specific project, the purpose of us is to rebuild an augmented environment, which can smoothly impact the emotion of visitors’. Based on a huge and open space, our project is planned to integrate the sculpture court of Edinburgh College of Art with visitors by using digital media technology, projection mapping show and installations. The visitors are supposed to update their knowledge of this site while waving their emotions with our event step-by-step. Not only immersing in our magic rebuild environment, the visitors will also be engaged and interact with the environment. 


The most significant elements in the site are the sculptures. This collection is the second oldest educational cast collection in the UK (Smith, 2012). Since the 1900s, these casts from greek  mythologies have seen the changes of the Edinburgh College of Art peacefully for an at least 100 years period. Almost all of them have imperfect bodies. From the rifts led by remodelling to the missing during multiple migrates, some parts of these master piece will never be clearly seen by us. The most famous one of them is the Winged Victory of Samothrace (056). 

This fantastic cast was made by the Louvre workshops (‘Musee du Louvre 7034’), Paris after 1879. The original Greek marble was found in the sea off the Island of Samothrace, Greece in 1863 by Charles Champoiseau, an archaeologist and French Consul in Turkey. It was headless and wingless but the wings were in 1879 and this enabled a partial restoration. It has been on display in the Louvre Museum since 1884. A plaster cast was placed where the marble was thought to have stood originally.

The original marble stood on a stone replica of a giant ship’s prow: possibly this had a pool of water beneath it so that when the wind ruffled the surface of the water the light flickered evocatively across the figure to suggest movement, she leans forward, her wings and drapery forced backwards by the pressure of the wind. The intensely dramatic pose and interaction with it’s surrounding space is typical of the Hellenistic phase of Greek sculpture. Possibly Victory was intended to commemorate the victory at sea of Antigonous II Gnats over Ptolemy II of Egypt in 255BC.

Not only the goddess experiencing hundred years of misery, but also the modern people need recovery. We are surrounded by digital gadgets and technology in our daily life. Since the information explosion (Hilbert, 2015) and the rapid development of mobile internet, people are even deeper immersed in the ocean of information with anxiety. Basically these technologies are able to speed our busy lives up, however we are thinking about use them in an opposite way. What if the technologies are used to slow your path down? Is a reorganised environment, different from the ones we inhabit, able to help people reconsider the way they interact with the environment? And during the awhile of stop, people can absent themselves away from the familiar environment and stressful destination, leaving with a refreshed mind. The visitors recover to an original version in many aspects, such as the origin area of human beings and the pure mood as infants, and get a recovery from the environment. This is literally what we expect in our project.

Concept Elaboration

Considering the intentions above, we site-specifically developed our original idea to a relatively complete event as the presentation. In this event, the sculpture court will be changed into a vast ocean with a beach. The Winged Victory of Samothrace (056) will be recovered to where she was found by restore a similar but more abstract environment around, created by projection mapping. At the same time, specific graph and animation will be applied to present the theme of recovery. Following this, there will be an interactive wall for the visitors to obtain an interesting theme-relative interactive experience. By exploring within the ocean environment we build, visitors  are supposed to update their knowledge of this site while waving their emotions with our event step-by-step, leaving with a feeling of recovery. The abstract concept “recovery” will be visualised by the representation elements we use.

The ocean is an important element in our project. For the main sculpture, the Winged Victory of Samothrace (056), the ocean is her hometown. From another aspect, water is the most important element for all lives and the most effective treat for patients in the traditional theory of Chinese culture (Schwartz, 1985). As the founder of Taoism, Laozi praises highly the characteristic of water that it well benefits ten thousand things without any strife, resides where most people hate to be (Laozi. and Red Pine, 1996). Visitors will obtain synaesthesia while immersing in the suppositional ocean.

Another issue we need to deal with is by using what approach we can visualise the procession of recovery. Facing the incomplete bodies of the traditional Greek sculptures, many people tend to repair and complete them by adding the parts they lost on to show recovery. However in our minds, the permanent broken of the imperfect sculptures are as normal and true as ourselves. Roughly patch them up are never able to make them as perfect as they were, although no part is missing. As a result, we decided to endow the sculptures energy of life by projection mapping. A series of dynamic graphs and animations such as flowing blood, twinkling eyes, beating heart and Mandala (Wikipedia, 2016).

To sum up, we will focus on the concept of recovery, delivering a solicitude over the sculptures and the visitors. The sensorial game, projection mapping and limited entitative setting will be engaged. By having a few minutes’ stop and interact, the visitors will get recovery by having synaesthesia with the sculptures and the environment.


Collinsdictionary.com, (2016). Definition of “recovery” | Collins English Dictionary. [online] Available at: www.collinsdictionary.com/dictionary/english/recovery [Accessed 13 Feb. 2016].

Dictionary, r. (2016). recovery Meaning in the Cambridge English Dictionary. [online] Dictionary.cambridge.org. Available at: dictionary.cambridge.org/dictionary/english/recovery [Accessed 13 Feb. 2016].

Cast Contemporaries: Artists respond to the completion of the Cast Collection Project at Edinburgh College of Art. (2012). Arts and Social Sciences Academic press.

Musings, (2016). Musings. [online] Available at: noanoagirl.wordpress.com/page/6/ [Accessed 14 Feb. 2016].

Hillbert, M. (2016). DT&SC 4-4: Global Information Explosion. [online] YouTube. Available at: www.youtube.com/watch?v=8-AqzPe_gNs&list=PLtjBSCvWCU3rNm46D3R85efM0hrzjuAIg [Accessed 14 Feb. 2016].

Schwartz, B. (1985). The world of thought in ancient China. Cambridge, Mass.: Belknap Press of Harvard University Press.

Laozi., and Red Pine, (1996). Lao-tzu’s Taoteching. San Francisco, Calif.: Mercury House.

Wikipedia, (2016). Mandala. [online] Available at: en.wikipedia.org/wiki/Mandala [Accessed 14 Feb. 2016].

Graphic Design and Visualisation

Submission 1   Bei Ye (Suzie)

Current work

At the beginning of the project, I have done some experiments using the mobile projector. The outcome of using the image of the coral fauna is quite good.

Pico projector testing

Therefore, I made a pattern combined with the elements of coral, clownfish and sea. This design is mainly inspired by the kaleidoscope, because I want the this image to be attractive and illusional. Also, considering it might have animation in the future, the symmetrical pattern is much easier to become dynamic by doing rotating or repetition. The elements around the “flower” representing the broken fragments of the sea.

sea illusion

This pattern is a demo and can be used both for mapping content or graphic element of the event (e.g. posters or brochures). It shows part of our project theme and the artistic conception.

In addition, I have designed a mapping prototype for the main sculpture of our exhibition, which is Winged Victory of Samothrace. As this sculpture of goddess was created to honor a sea battle, I used the color of blue to representing the sea, at the same time, I used the pattern of the stars to delivery the feeling of holiness and mystery.

Regarding the theme of our exhibition is “recover”,I recreate a wing for the Winged Victory. I trying to reappear the image that the goddess was descending to alight upon the ship.

 Winged Victory of Samothrace

I also did another mapping prototype for the “Dying Gaul”. The references showing that the statue may provide evidence to corroborate ancient accounts of the fighting style—Diodorus Siculus reported that “Some of them have iron breastplates or chainmail while others fight naked”. ( Diodorus in Stephen Allen,2001)

The pattern on the sculpture’s chest is the shape of a red coral, it represents his “new” heart. I aim to strengthen the aesthetic feeling of this casting by combining the background story and our theme to the design. I hope the audience will get the feeling that the seawater is healing the indomitable warrior.

Dying Gaul

Besides, I have developed an idea that we could put some real shells on this sculpture to create more connection with the decorated environment. The effect picture is as follow.

Dying Gaul

Future progress

As there are only limited numbers of projectors, we will only choose two or three sculptures to do the projector mapping. Therefore, I will focus my attention on the mapping animations of the two sculptures later and continuing trying to delivery more contents of our theme to the design, at the same time, ensure the aesthetics perception.


Diodorus in Stephen Allen (Author), Wayne Reynolds (Illustrator), Celtic Warrior: 300 BCE – 100 CE (Osprey: 25 April 2001), ISBN 1-84176-143-5. p. 22

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