Katherine Weaver, RA

Projection mapping is the application of imagery on physical objects by way of a projector. Through the use of mediating software, videos can be 'mapped' to fit within the boundaries of three dimensional surfaces without overflowing light. While most of these projects are on smaller surfaces for the sake of experimentation, the potential is limitless for commercial use in large scale venues or retail spaces.

In addition to visual mapping, the use of interactive inputs gives agency to the viewers. Audio inputs can be translated into responsive visual sound waves, video inputs can project live feeds, or a leap motion controller can track the hand gestures or act as motion sensors to create a direct response to user's movements.

The Leap Motion controller was integrated into the projection mapping by allowing the user to blend between two sets of video footage. Two videos were playing simultaneously on top of one another and the user was able to affect the transparency of one to reveal the other.

This project is part of a community wide projection mapping exhibition in association with the Digital Graffiti Festival at Alys Beach Florida. Once a year, the community allows artists to project works of art on the white-washed walls of the beach town development. Digital Graffiti explores how design, technology and architecture can intertwine to create entirely new art on built forms.

The location of this installation is on the four butteries that mark the entrance to the festival. The projected imagery remixes people's profiles in an abstraction that combines different ethnicities into a single image. In doing so, the message is one of empathy in that we all share commonalities of emotion such as happiness, fear, anger, and surprise.

This project is a playful recontextualization of common superstitions using the metaphor of a user's manual focused on how to live a lucky life. Through an explorative process, the resulting book blends imagery from Ars Moriendi (The Art of Dying), an Ikea user's manual, and illuminated manuscripts. Each of the main spreads uses as its title the Latin derivative of the main subject matter, as in 'Avem' translated as bird. Titles are set in Futura, the main typeface of Ikea, with accents used to simulate titles of their products. The choice to use handwritten text is intended as juxtaposition to the sharp terminals of the san-serif headers to give it an informal undertone.

The illustrations are hand drawn extractions from Ars Moriendi and are iteratively warped to espouse the supernatural. In lieu of gold leaf, the book is leafed in copper to play off the religious basis of illuminated manuscripts and the shift, with the advent of the codex book (and metaphorically 'knowledge'), from non-secular theocracy to democratic empowerment.

This submission is an interpretative graphic of the movie, I Heart Huckabees directed by David O. Russell. A reductive understanding of the sea of philosophy that this movie parodies is a struggle between universal connectedness and nihilism. The poster plays with anti-hierarchical composition that speaks to unity through fragmentation, to depict both the 'blanket' and 'nothingness.'

To promote the “dismantling of the world as you know it,” I privilege instability through the lack of compositional hierarchy; the scale is more relational between individual components than through the relationship of the parts to the whole. To deconstruct hierarchy, I play with the Gestalt laws of visual perception to create disassociations. Proximity refers to the idea that figures close together are associated; the poster plays with relative scales of proximity to destabilize what is thought of as adjacencies. To deconstruct the form further, the poster has abrupt changes in direction, an asymmetrical imbalance in the elements, promotes open figures by the splaying of form in all directions, and exploits the notion of similarity through the ambiguous fragmentation of the geometric elements.

The purpose of this printed book is to serve as a reference about the history and structures of typography. It compiles selected information from current academic resources into one volume as well as elaborates on the history of marks and language classification systems. Included in the typographic knowledge are rules of thumb about typesetting, typographic anatomy, classification systems, and page layouts. Also included are sixteen specimen charts of commonly used typefaces for quick reference.

The Daily Rhetoric is a simulated newspaper along the theme of a selected persona: Elvis Presley. A series of news articles centered around the King of Rock n' Roll, the paper explores the many facets of his celebrity including racial prejudices, the background stories behind his songs, and a potential existential dilemma he may have felt between fame and artistic creation.

The series of posters are centered around the many facets of Elvis Presley's celebrity including racial prejudices, the background stories behind his songs, and a potential existential dilemma he may have felt between fame and artistic creation.

Each of the posters is generated by exploiting creative uses of objects as a way of shifting away from solely vector based imagery. Shoelaces were used as a metaphor of walking in another person's shoes for 'Pathos,' apples and flowers to represent his controversial figure as an immoral icon, and photographs of glittery carboard letters and a piano combine into a dance of image and type.

This design project is a satirical play on a scratch off lottery ticket as a visual representation of 'The Game of Life' board game. Visual elements are comprised of material objects commonly obtained in daily life and those material advantages that Americans are conditioned to strive for to achieve the American dream.

The main visual element is the roundabout roadway in which a car is on a continual loop serving as a metaphor for ceaseless consumption and an unfulfilled appetite for status and wealth. As the player scratches off the top layer, statistical information about the average cost of living is revealed in lieu of cash prizes. Living costs represent the amount of debt compiled by the U.S. consumer to show that the american dream is a debt based system. There is no winner. All tickets reveal a winning a 'play again' making them entitled a free ticket, further exhausting the idea that Americans are conditioned to always keep playing the status and debt game.

This project is an informative motion media piece about the negative health affects of added sugars using a combination of animations, video footage, and a voice over narrative.

The theme for this title sequence is a homage to the drive in Christmas light shows that I experienced in the northeast.

Design an experience around an experience.

The academic prompt for this studio asked us to design four media based upon a recent or memorable experience. I had recently wasted tens of hours over the course of weeks with AT&T's customer service because of a data entry error on the company's side and flew right into the Bermuda Triangle formed by AT&T's technical department, service department, and corporate branch.

My experience translates into new media by focusing on the linear problem solving methods of current customer service models. With the growth transnational corporations and the inevitability of big business, corporations have to think more systems based rather than linear structures. I translated a systems based approach into the message, “maintain a state of wonder,” and designed an explorative learning kit for children ages 4-7.

Inspired by a series of newspaper articles,this project highlights the term 'boxes of miscellaneous items' from a notice of lien sale classified advertisement as a metaphoric association between the contents of those boxes and moments from people's lives. The intention is to make the miscellaneous boxes and the other seemingly benign objects for sale precious. The media is packaging for a series of commercial products that focuses more on the narrative containing the object than the physical object itself.

Using packaging as a forum to expose propaganda tactics, the media proposes that the world is being packaged in a different way and we need to learn how to filter information and identify persuasion tactics. The intended emotive response is one of empowerment and agency.

There is a blurring of the line between the virtual and physical spaces as evident in movie theaters (with the advent of online streaming), bookstores (Amazon), and retail shopping. While there is a massive shift from 'mortar and bricks' to the screen, it will never be in entirety. The physical space still exists and requires adaptation. With the acquisition of Whole Foods by Amazon and the escalating trend of home food delivery, how will the supermarket adapt?

This project restructures the display of food in both its organization and formal layout by proposing a crenulated periphery of the space to increase shelf area and to allow for back stocking of the products. The organization of the food is first by food category then shelving hierarchies based upon the glycemic load and fullness factor

To further augment food shopping, convenience and personalization can be integrated both into the cart, welcome screens, and self-data generation accessible on mobile applications.