Merge pull request #39 from DanieleMaselli/master

Added documentation "find-your-way & Sol Lewitt" to the project folder.

projects/find-your-way/index.md

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+--- 
+authors: 
+  - "Daniele Maselli"
+authors-url: 
+  - "https://github.com/DanieleMaselli"
+layout: project
+title: Find your way 
+type: project
+---
+
+The current documentation shows the results of the course “Gestalten in Code” in the winter semester at the Uiversity of Applied Science Potsdam (Germany), supervised by Fabian Morón Zirfas. The course provides an introduction of basic programming in P5.js and Processing with a focus on gestalt psychology and a workshop on physical computing.
+
+---
+
+
+![](./splash.png)
+
+
+The first project of the University seminar Gestalten in Code was titled "analog algorithm". 
+The main task of the project was to provide a set of instructions in a human language emulating algorithms in machines. The instructions had to be in one sentence, simple to understand and could be composed with parameters or constants.
+
+## Algorithm part 1.
+
+
+![](./assets/images/algo-1.png)
+
+
+> * Draw round shapes in vertical and horizontal which differ from the diameter. 
+> * Create lines that merge into different points.
+
+
+
+The seminar began with the task of writing the first line of an analogue algorithm. The inspiration and consequent work flow are influenced by the results from a creative class mate, as well as the comprehension for the upcoming executed algorithm and the first steps in the project implementation.
+
+
+
+
+## Algorithm part 2.
+
+
+
+
+![](./assets/images/algo-2.png)
+
+
+> * Draw circles of various sizes throughout the sheet distant each other.  
+> * Trace straight lines which intersect but do not touch the circles.
+
+
+The second attempt for an analogue algorithm, was more accurate on the description to obtain a similar result of the previously choosen work. 
+
+Even if the instructions to be performed have been written more clearly, most of the results were out of every expectation. The purpose wasn't to create a text that scares the reader or makes him think too much for concluding an action. For that reason it was really important to phrase the instruction clear to prevent any misunderstandings.
+
+While looking on different drawings, it is recognizable that every person gives a different touch and express them self in different ways by just using a circle and a line. The choice of the material was free, which also included objects. 
+
+The interesting thing about the output was set by the different visual tension giving from a circle and a line to create a grid. The problems, instaed, was to cover the entire surface for each algorithm performed.
+
+## Algorithm part 3.
+
+
+![](./assets/images/algo-3.png)
+
+
+> * Draw twenty filled circles of different sizes.
+> * Circles connect with a straight line.
+> * Connections must cross at least once.
+
+
+The third part of the algorithm was set by an amount of circle to draw and a rule for crossing each line at least once. The material selected in advance was a brush and ink on rough paper. This will ensure a more controlled result at the end. 
+
+
+![](./assets/images/algo-4.png)
+
+
+By noting the individual result of the performers, it was immediately recognizable that it has to be more controlled by the material on which it runs. The choice was made by selecting the most suitable result of all the executed algorithm, which gave an idea for creating more visual depth and a percentage of circles, instead of a defined number of circles.
+
+
+
+## Conclusion
+
+![](./assets/images/algo-5.png)
+
+
+> * Draw a circle consisting of 20 to 30 filled circles that do not touch each other.
+> * Circles are reduced in proximity to the center.
+> * Create a path with a continuous straight line that connects all circles, and each line crosses an existing line and once passes through the center of each circle.
+
+
+
+The third and last algorithm was the final attempt. This time it was controlled by other settings based on each performer selected. Every material was selected to combine color, according to contrast and combination. 
+Each perfomer had his own setting for the execution.   
+
+The desired results have been achieved by setting an amount of possibilities in the algorithm, like a set of number and rule that gives the final output some space and depth by reducing the sizes of the circle near the center. The text instructions are more accurate and understandable for the executor, and giving a wide selection to choose for the final project.
+
+![](./assets/images/algo-end.png)
+
+After receiving the executed algorithm from each person with different color combination, it seemed a pity not to increase the contrast of colors. For that reason it was created a following frame with all the different received results and to enhance the design of the final selected algorithm.
+
+---------------------------------------
+
+## License (MIT)
+
+(c) 2017 Daniele Maselli, University of Applied Sciences Potsdam (Germany)
+
+Permission is hereby granted, free of charge, to any person obtaining a copy of this software and associated documentation files (the "Software"), to deal in the Software without restriction, including without limitation the rights to use, copy, modify, merge, publish, distribute, sublicense, and/or sell copies of the Software, and to permit persons to whom the Software is furnished to do so, subject to the following conditions:
+The above copyright notice and this permission notice shall be included in all copies or substantial portions of the Software.
+THE SOFTWARE IS PROVIDED "AS IS", WITHOUT WARRANTY OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO THE WARRANTIES OF MERCHANTABILITY, FITNESS FOR A PARTICULAR PURPOSE AND NONINFRINGEMENT. IN NO EVENT SHALL THE AUTHORS OR COPYRIGHT HOLDERS BE LIABLE FOR ANY CLAIM, DAMAGES OR OTHER LIABILITY, WHETHER IN AN ACTION OF CONTRACT, TORT OR OTHERWISE, ARISING FROM, OUT OF OR IN CONNECTION WITH THE SOFTWARE OR THE USE OR OTHER DEALINGS IN THE SOFTWARE.
+
+See also http://www.opensource.org/licenses/mit-license.php

projects/sol-lewitt/index.md

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+--- 
+authors: 
+  - "Daniele Maselli"
+  - "Denys Ivanchenko"
+authors-url: 
+  - "https://github.com/DanieleMaselli"
+  - "https://github.com/deivanchenko"
+layout: project
+title: "Sol Lewitt - Geometric shapes"  
+type: project
+---
+
+## Deconstructing Master Artist: Sol LeWitt 
+
+![](./splash.png)
+
+
+The following project shows the result of the seminar project "deconstructing master artist" at the university of applied science in Potsdam supervised by Fabian Morón Zirfas. The course provides an introduction of basic programming in P5.js and Processing with a focus on gestalt psychology and a workshop on physical computing.
+
+
+![](./assets/images/sol-dma.png)
+
+[»Source«](https://upload.wikimedia.org/wikipedia/en/3/36/Sol_LeWitt.jpg), licensed under [CC BY-NC-ND 4.0](https://creativecommons.org/licenses/by-nc-nd/4.0/)
+
+## Sol LeWitt - Creation
+
+Le Witt had a strong influence Russian avant-garde and constructivist. We can say that as an artist, Sol LeWitt came out of the "Black Square" by Malevich. Cube LeWitt called his "base unit". It then truncates the verge of turning the cube in the lattice, then multiply cubes, creating chaos.
+
+The artist experimented with form and color of objects, working with simple geometric shapes, mostly in black and white technique. In the later stages of creativity LeWitt created the sculpture and graphic series, doing murals. His works are in major collections of contemporary art.
+
+In the early 1960s, Sol LeWitt creates a certain amount of wall reliefs, which he calls "the wall structure." These reliefs exiting the plane of the wall space in the viewer's residence, are based on the interaction of various geometric shapes: cubes, squares, parallelepipeds and including one figure to another. Famous "modular structures" Sol LeWitt - three-dimensional lattice, built on repetition-cube module.
+
+The American artist has won its fame thanks to the invention of complex compositions, composed of a deceptively simple geometric shapes and colors. These views Le Witt played a decisive role in the formation of new radical aesthetics of the 1960s, which completely eliminates the narrative in art. In this case, the goal of the artist is not to tell a story and evoke an emotional response from the viewer.
+In his article for the magazine Artforum in 1967, Sol LeWitt gave a definition of conceptual art: "When an artist uses a conceptual form of art, it means that all the planning is done in advance, all decisions are made beforehand and the execution takes place formally, superficial, shallow ... the purpose of the artist engaged in conceptual art, - to do their job intellectually interesting for the viewer, and thus not affecting his soul. "
+
+LeWitt infrequently created paintings. His most famous works - "Red square, white letters" - refers to 1963. Since the 1970s LeWitt began working on an early graphics - screen printing. Then, in the artist's work includes in-depth engraving and later - engraving and other techniques.
+
+## Sol Lewitt: Color Bands 
+![](./assets/images/colorbands.png)
+
+
+[»Source«](http://baeditions.com/sol-lewitt-artwork/sol-lewitt-color-bands.htm), licensed under [CC BY-NC-ND 4.0](https://creativecommons.org/licenses/by-nc-nd/4.0/)
+
+
+
+Color Bands is a series of eight prints in which colored curves and lines play on the optical effects. For Color Bands, Sol LeWitt composed a set of drawings and measurements that were executed by a master printmaker.
+
+## Analyze: Geometric shapes
+
+The first step was completed by analyzing the studies behind the geometric shapes in his composition and then with the help of computer programs it was recreated into two prints of his works to be further analyzed for its details. 
+
+We then developed his work without the use of color in order to show the purity of the geometric forms and to have a better comprehension of what is behind the color. His work method is composed with simple and repeated geometric shapes that transition between each other with different combinations. By taking a closer look at the geometric shapes, we realized that the origin of the forms are always deriving from the same source and then repeating itself throughout the canvas. The space separating each repetition is always measured by the same magnitude until arriving to its ultimate point. In most of his drawings the separation that occurs between one geometry to another is closed inside a black line. This is in order to separate the concentration of the various forms represented within the viewers vision. 
+
+* Sol LeWitt's art served more as a concept rather than be a valuable object.
+
+![](./assets/images/dma-3.png)
+
+![](./assets/images/dma-1.png)
+
+The artwork without the use of color is illustrated as an ordered grid calculated in every detail. Dividing the contour into its parts, it can be noted how each circle, is positioned on the corner and the lines, instaed, are measured inside the canvas and intersect for creating an additional grid with the circle. 
+
+![](./assets/images/dma-2.png)
+
+![](./assets/images/dma-4.png)
+
+
+## Analyze: Color
+
+
+The analyzed color in Sol LeWitt's work, keeps the same used standard as the repetition of the geometric form, for that reason the color in combine with the geometric shapes, creates a mesmerizing vision for the viewer. Analyzing it is visible that the color used are mostly primary and secondary colours and the repetition are of the same diameter throughout the canvas. For a better comprehension, it was created a color palettes with each color represented.
+
+![](./assets/images/dma-color.png)
+
+
+## Law of gestalt
+
+
+We examined the series of works in connection with the Gestalt psychology. 
+
+![](./assets/images/gestalt.png)
+
+
+
+### Law of Good Continuation
+
+We have a tendency to group and organize lines or curves that follow an established direction. In this case the performance of the circles pushes the eye to follow
+
+
+
+
+
+![](./assets/images/gestalt-2.png)
+
+
+### Law of Prägnanz 
+
+People will attempt to organize the image into the simplest form possible. At first sight is not noticeable the infinity within them. 
+
+
+
+
+
+
+
+## Sol LeWitt's art in P5.js 
+
+After familiarizing with the work method and studys behind Sol LeWitt's art, it was time to practice his vision by coding it in P5.js. 
+
+![](./assets/images/dma-codeimg.png)
+
+
+The artwork creates modulated shapes using the same basic construct. Each geometry is composed of a loop which, throughout each iteration creates a nested like structure. This structure uses a counter updated on each iteration to calculate the size, with basic arithmetic and the color, calculating
+the index in an array of colors using the modulo operator, emulating a cycle.⁠⁠⁠⁠
+
+You can take a look at the code [here.](https://interface.fh-potsdam.de/gestalten-in-code/color/geometric-shapes/)
+
+
+
+## License (MIT)
+
+(c) 2017 Daniele Maselli, Denys Ivanchenko, University of Applied Sciences Potsdam (Germany)
+
+Permission is hereby granted, free of charge, to any person obtaining a copy of this software and associated documentation files (the "Software"), to deal in the Software without restriction, including without limitation the rights to use, copy, modify, merge, publish, distribute, sublicense, and/or sell copies of the Software, and to permit persons to whom the Software is furnished to do so, subject to the following conditions:
+The above copyright notice and this permission notice shall be included in all copies or substantial portions of the Software.
+THE SOFTWARE IS PROVIDED "AS IS", WITHOUT WARRANTY OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO THE WARRANTIES OF MERCHANTABILITY, FITNESS FOR A PARTICULAR PURPOSE AND NONINFRINGEMENT. IN NO EVENT SHALL THE AUTHORS OR COPYRIGHT HOLDERS BE LIABLE FOR ANY CLAIM, DAMAGES OR OTHER LIABILITY, WHETHER IN AN ACTION OF CONTRACT, TORT OR OTHERWISE, ARISING FROM, OUT OF OR IN CONNECTION WITH THE SOFTWARE OR THE USE OR OTHER DEALINGS IN THE SOFTWARE.
+
+See also http://www.opensource.org/licenses/mit-license.php
+