Specialist option

App designing for designers
This was a simple on-line guide for students on how to construct a mobile app.

 

oily_rag_app

One of the easiest App building software I have come across is called Beacondo and can be found at www.beacondo.com and the good news its free, well to a certain level. I have started using this for experimenting with ibeacons for activating content at various locations, and although the majority of Apps building software is centred round retail (this is especially evident when viewing the tutorials) it is easily adaptable for other content, as I have found.

You will need Xcode, which is free to download from the Apple App store. The newer version of Xcode (7.3.1) is about 11GB in size and also requires and update install of iOS so be prepared to wait for these installs, as they are quite large.

When you visit the beacondo website there are two files that need downloading http://www.beacondo.com/download/. The ‘Designer v2.0’ file and the ‘SDK v2.0’ file. Once you have done all this you can start to have some fun designing your own App. There is also some very good tutorial content on their site and can been found at http://www.beacondo.com/tutorials/

What I have found especially good with this software is that you can instantly see what your App will look like using a pre-selected iPhone model. You may need to do some image manipulation in PhotoShop to find the right size for your image, depending on the phone model you are using.

Creating a Time Lapse Moving Image
This was a simple on-line guide for students in how to construct a time lapse moving image and was posted as a blog entry.

When it comes to creating a time lapse piece there are many factors that need careful consideration. It is not as simple as putting the camera on a tripod and taking a few shots. If you think of when it is played back for it to being smooth and not jerking then (depending on what country you are in) you need to have 24 or 25 frames per second, anything else will appear too bumpy. So, if you consider a 12 second play back time then this will require around 300 shots.

Taking night shots of the stars can also give its own set of problems. Taking into consideration of exposure time at say 25—30 seconds per shot, then the camera would have to be taking shots for around 3 hours (including processing time in-between each shot) for a 10—12 seconds of play back. Now at the time of starting your time-lapse shoot you would have had a beautiful clear night with plenty of starts to see, but this could quite easily change after an hour with cloud moving in and totally ruining your plans. So, to get a clear night you may have to do this on several visits, so be prepared and be patient. Try and avoid light pollution. If you live in a large city with lots of buildings and street lights etc., then it is going to be difficult to get a clear shot.

In the case of “Celestial—Time-lapse over New Zealand” it was shot over 4 days with several sunsets with plenty of clouds to reflect the setting sun. I always shoot in RAW so I am able to manipulate the images in post, but as you can image this will need plenty of disk space both on your camera and computer. Also, when setting up your camera remember to have everything set on manual (ISO, WB, Focus, Aperture, Speed) otherwise if left on auto there will be too much flickering when it is played back as the camera has taking individual exposures at different rates.

After taking the shots several hours are spent in post-production on image manipulation, editing, sound and fancy title graphics. As a typographer and designer, I tend to ponder on these things and get them just the way I want, which means I spend more hours than I really should. In the case of Celestial this meant creating my own typeface and editing it in Illustrator and then After Effects and applying transitions to give it the effect of a neon light flickering when it is turn on (there is no plug in or easy fix for this, just hard work). This few seconds of opening sequence was getting on for about 6—8 hours of production time.

Software used
Adobe Illustrator (vector imagery)
Adobe After Effects (special/post effects)
Adobe Light Room (photographic manipulation)
LT Time lapse (photograph post manipulation)
Launchpad (iPad sound app)

https://youtu.be/TzjwLnNPUHE

Figure. Shows the YouTube link video time lapse Celestial.

Documentary
This is a documentary I made about the struggles my students have to deal with when thinking about tertiary education. The idea of this documentary is to better understand the environment they live in the and the challenges they are faced with.

The other side of New Zealand not often talked about, ‘Southside as bro’ is a passionate documentary depicting three young adults growing up in South Auckland, New Zealand. They talk about what it is like living in South Auckland, the day-to-day troubles they are faced with and how they are trying to break the mould and the stigma associated with South Auckland, New Zealand.

As seen from their prospective, this documentary aims to capture the real side of a poor and neglected area of New Zealand, and the essence of the area and what it is like to live, work and study there.

Filmed on location in Manukau, South Auckland, New Zealand

Filmed, Directed and designed by David Sinfield

https://www.youtube.com/watch?v=grZu0ntbOqA&list=PLtgF2snTCBI4U-wxrw0Ozpfew0jPXS2bG&t=0s&index=2

 Figure. Shows the YouTube link video documentary Southside as Bro.

Research profile
My research considers new and emerging technology using a pedagogy and heutagogy framework within the studio based classroom. Using a traditional graphic design teaching model, I explore how new technologies including mobile augmented reality and virtual reality can enhance the reach and impact of student’s creative work. The goal of the curriculum redesign is to broaden students’ educational experiences beyond the confines of the traditional studio based classroom to include wider community outreach and participation within an increasingly global environment.

My research also goes beyond the classroom and focuses on workers’ narratives. Using a series of workers interviews and photographic/filmed images, I explore how an interface between what is written, what is thought, and what is lost, might operate as visual texts in the form of the typographic poem film, moving image and printed works. This process of interviewing, recorded imagery, sound, typography and exploring the meaning of place is an ongoing process of my research, which is also being explored within my PhD (which is part way through). The research also extends the concept of the portrait beyond a purely visual representation of identity by fusing typography, narrative, location imagery, sound and paralinguistics. In so doing, it demonstrates how certain concerns of graphic design might be employed to draw attention to the human condition. Expanding this idea, I have chosen the abandoned freezing works factory in Patea, Taranaki, New Zealand as a site of consideration for gathering worker’s stories of when they worked there and the subsequent impact it has had on the town since its closure. As a result, this research has led to the designing and production of several typographical poem films, typefaces and printed works, that have been published and exhibited nationally and internationally along with conference presentations, journal articles and public presentations such as TEDx.

 

https://youtu.be/8a1KYRuhgow

Figure. Shows the YouTube link video TEDTalkPragmatic signs: present, past and future | David Sinfield | TEDxManukau.

Further exploration is ongoing such as a planned exhibition, museum curated presentation of findings and augmented reality interactive field trip within the town of Patea. This contributes not only to the wider research community within the field of Art and Design, but also the local community and people of Patea, Taranaki, NZ and can been seen as a way of enriching and giving back to local community.

Confirmation & Contacts

I declare that, to the best of my knowledge, the statements and evidence included in the submission accurately describe my practice and are drawn from my own work, with the input and support of others duly and clearly recognised.

 

David Sinfield

david.sinfield@aut.ac.nz

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