Figure 1 : Cosmic Cradle Metamorphosis Animation exploring the movement of space (Andrewkn, Pixabay, 28 January 2022) (Pixabay, 31 August 2022.) (Jonny Hughes, howstuffworks, n.d.).
It is also necessary to incorporate Edward Tufte’s laws into this task. So, who exactly is Edwarde Tufte? Edward R. Tufte is a retired political scientist, statistician, and computer scientist. His study focuses on statistical evidence and scientific visualisation (Shruthi Sampathkumar, Medium, 6 February 2018).
Effective web design can be achieved by following the broad information design principles proposed by Edward Tufte. In his article and books, he explains how to design web pages effectively using micro/macro design, layering and separation, small multiples, colour and information, and the integration of text and graphics (Shruthi Sampathkumar, Medium, 6 February 2018 ).
Tufte’s Comparison of Small Multiples
Figure 1 : A little multiples demonstration using different painting mediums of the same glass that will apply to future planets (Tufte, Edward R, 1990 ).
The small multiple is a data visualisation that consists of a grid of several charts. This makes it simple to compare the complete set of data. This law will be great because the Newton’s Cradle will include seven coloured balls. As a result, they will all be made of the same metal but in different colours.
Tufte’s Use of Colour
Figure 2 : According to Tufte’s law, “Use Colours to Help Users Understand Data or to Add a Layer of Information,” each colour not only helps to divide the data but also aids in memory retention because people tend to associate colours with specific memories (Chrisanthy Rebecca Surya, Medium, 21 March 2019), (Tufte, Edward R, 1990).Figure 3 : This map depicts ocean and land using various tones of blue and brown (Tufte, Edward R, 1990).
Colour is important for my animation because the setting is known for its blue, purple, and white hues. As the white light from the sun strikes the prism, it produces seven different colours, which is why the planets themselves will be in a prism colour also known as a rainbow colour to relate back to the space.
Tufte’s Micro-Macrocosm
In his works, Tufte discusses several micro- and macro-data instances. Micro readings come in a format that has the most granular details imaginable (Shruthi Sampathkumar, Medium, 6 February 2018 ). The planets in this space animation will serve as the microcosm and macrocosm because each one will have its unique story and small surface breaks. Additional cracks will also appear due to planetary movement.
Tufte’s Layering and Separation
Layering is the process of visually arranging or stratifying data to build a proper link between different forms of information, according to Tufte’s definition in his article “Layering and Separation.” By emphasising more significant elements and downplaying less important content, layering serves to establish a visual hierarchy (Shruthi Sampathkumar, Medium, 6 February 2018 ). A layering component in animation would be found between the planets and the background.
Figure 1 : On camera, astronaut Ronald E. Evans is seen engaging in extravehicular activities during the trans-Earth journey of the Apollo 17 spacecraft (Emily Carney, NSS, 26 September 2021).
This was decided to create some storyboards while considering how to merge the Metamorphisis, Alexander Calder, and Science. However, a mindmap of what science specifically entails before creating a storyboard. Consequently, planets and rockets are a part of science, particularly planetarium. The plaques flown on Pioneers 10 and 11 and, of course, the Voyager Golden Record are two instances of how the human element was conveyed even in robotic spaceflight throughout the 1970s. Each artefact was intended to express the human condition to potential extraterrestrial life, if said extraterrestrial came upon each spacecraft (Emily Carney, NSS, 26 September 2021).
Furthermore, it is impossible to ignore the connection that both scientists and engineers as well as technicians felt when the great planetary research missions of the 1970s succeeded. The era’s NASA and JPL films depict the control rooms’ almost amazement when, for example, the Viking landers touched down and actually sent back the first sharp photographs of Mars (Emily Carney, NSS, 26 September 2021).
Initial Storyboard
Figure 2 : Rough animation storyboard that provides a quick visual representation of the work.
A decision was taken to storyboard and clarify ideas following mind mapping. As a result, the animation opens with a planet in the background of space. So camera is crucial in transitions because a second planet then appears after a minor camera movement. Both of the planets begin to clash like gas particles as soon as they arrive. Three planets form after a collision, but the colours used in the storyboard won’t be utilised in the final animation because the three planets will be different from those shown in it. Several planets have so collided, and the collision is zoomed in on by the camera. After the collision, the strings become visible as the camera pans out. As planets are actually a Newton’s Cradle on a workplace as the camera continues to zoom out.
Group Storyboard
Figure 3 : Storyboard interpretation was made following a group discussion.
An area was actually a wallpapered rear wall that moved like an Alexander Calter mobile. However, since the storyboard was unfinished and lacked a beginning and a conclusion, doing a group brainstorming was helpful. The group storyboard that Abbie, Adam, and Sidney presented is shown in the photo below. After the group project, additional factors were taken into consideration, such as having various planets turn in a line that will resemble a cradle and an asteroid that is travelling in the direction of the planet. After an asteroid strikes the planet, all the planets collide once more. Three planets are then moved by the rockets, which causes them to rise after colliding and then fall. This connects to the Alexander Calder mobile as well.
Figure 4 : The final choice was to call the piece Cosmic Cradle after more examination of the important terms that would be included in the title.
Development of the idea for the entire animation would involve space and a 3D rocket in a similar style, by thinking back to space exploration from the 1970s.
Figure 5 : During the in-depth conversation, a group storyboard was created.
Figure 1 : Analysing the metamorphosis and illustrating the transformation from a caterpillar to a buterfly. This illustration will help people understand what animation is supposed to be (Mart, shutterstock, n.d.)
Animals change drastically and quickly after birth through a process called metamorphosis. Changes in an organism’s complete body plan, such as the number of legs, method of feeding, or mode of breathing, may be the outcome of metamorphosis (BD Editors, Biology Dictionary, n.d.).
However, in terms of design, metamorphosis may be associated with a change in habitat or even in mode of life, even if this may also occur independently of any initial morphological or environmental alterations. Cities are a fantastic example because they are always changing (Architecture Ducation, n.d.).
Alexander Calder
Figure 2 : Kinetic refers to something that involves motion. Movement has been included into art since the early 20th century. This was done in part to explore the potential of movement, in part to explain the concept of time, in part to reflect on the significance of technology and machines in today’s environment, and in part to investigate the nature of vision (Tate, n.d. KINETIC ART).
After careful thought, the decision was made to adapt Alexander Calder’s work to create a moving planetary or atomic animation. As a result, having planetery in a mobile format would be considered. Alexander Calder is credited with creating the mobile, a form of kinetic art that relied on careful balancing to achieve equilibrium and suspension in the air, as well as wire sculptures. At first, Calder utilised motors to move his pieces, but he quickly stopped using them and switched to just using air currents (Tate, n.d. WHO IS ALEXANDER CALDER?).
Looking at Alexander Calder’s work made me realise that the motion was similar to that of Newton’s Cradle.
Newton’s Cradle
Figure 2 : The Newton’s cradle, with its swinging, clicking balls, isn’t just a regular desk item, despite the appearance of its straightforward design. In actuality, it is a beautiful illustration of some of the most fundamental physics and mechanical laws (Chris Schulz, howstuffworks, n.d.)
The item serves as an excellent example of how friction, momentum conservation, and energy conservation all function together in physics. These collisions that are inelastic and elastic, and kinetic and potential energy (Chris Schulz, howstuffworks, n.d.)
In order to create anything analogous to Alexander Calder’s mobile, the idea for the prospective animation would therefore be to include metomorphism and the Newton’s cradle itself or even its motion.
BD Editors, Biology Dictionary, n.d. Metamorphosis Definition [Online] (Updated in 4 October, 2019) Available at : https://biologydictionary.net/metamorphosis/ {Accessed in 10 May 2023]
