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The creative process has its highs and lows. Even for people whose passion is creating, often the journey of actually realizing one's ideas can turn into a grueling thing. In the worst case scenario it gets to a point where the artist ends up burning out, losing faith in the project or simply not wanting anything to do with the idea anymore after a long, frustrating artistic process. Animation in particular is a medium that requires an incredible amount of work, where realizing even a short idea takes a huge amount of time and effort.  How do you find a balance between the spark of creativity versus being practical and productive, so that you can realize your ideas without burning out? Through examining the insights learned during the process of making an animated short film, this paper explores how to protect the creative spark and tackle some practicalities though a creative process in order to make it manageable.

I feel the need to warn you This will get personal  Whether I like it or not, I must tell you I was born in Miskolc    The city of heavy industry  Where you find 161,265 souls The county capital of Borsod-Abaúj-Zemplén The fourth largest city of Hungary.   My mother once or twice  or rather 31 times told me a story  She had already moved up to Budapest  Met my biological father and had gotten pregnant   I keep the other part out of this story the part about her education in architecture  – We don’t have the time for that  Even-tho it is tempting to tell   It has some funny turns as well  Just like the story about my birth I don’t know why But my mother likes to talk about herself   But this time it’s getting too far She doesn’t know but it bothers me I don’t want to hear this particular story / I am interested in notions of memory, found stories that people might not notice but are important to me. These stories originate in my home country, Hungary. I collect Hungarian words and phrases, translating them into English and then into Swedish—I have noticed that I often use English as the bridging language between Hungarian and Swedish. This puzzle of languages shapes my current work, which takes the form of multimedia installations. For my solo exhibition presented at Galleri Mejan, I created an installation called Invisible Trains, which revolves around found footage filmed in my hometown, Miskolc. In the work, a tourist visiting the city decides to film her trip on a little railway. She films her journey up to a mountain called Bükk, passing all sorts tourist attractions and sights. While visiting her husband’s family in Miskolc, they decide to go up to the famous fish farm called Garadna, however, the fish farm is closed when they arrive so they decide to go back to the city. The footage feels edited but at the same time not, as there seems to be a linear order. Jumping on the little railway, going up the mountain and then down again, they end their journey at a viewpoint. They look down at the houses they recognize. I decided to travel to Miskolc and take the same journey up to the mountain. I then transformed this experience into an installation where the sound of a whisper guides the visitor around the gallery space. A video work, sculptures, and analog projections serve as clues embodying the attraction sights.

In this essay I reflect on what my artistic practice is about.  I explore aspects of space through painting and sculpture in my work. The motifs I keep returning to are architectural elements and objects of everyday life, details or places in the home or the urban environment. Regardless of the motif, I am looking for objects that give a sensation of being in interstitial spaces. I am searching for a pause and a certain stillness, but at the same time, I aim for my works to be vibrant and full of life. It is this meeting point of stillness and vibrance that I am looking for. The essay consists of several parts in which I reflect on my work and work process, starting with the idea of "genius loci", the atmosphere of a place. I thereafter write about the choices I make in scale, color, material and spatial qualities. I also give examples of a few artists that have inspired me and that have been of importance to my practice. Finally I put forth some reflections on the daily work in the studio in a logbook.

Thesis (M.M.)--Boston University / PLEASE NOTE: Boston University Libraries did not receive an Authorization To Manage form for this thesis or dissertation. It is therefore not openly accessible, though it may be available by request. If you are the author or principal advisor of this work and would like to request open access for it, please contact us at open-help@bu.edu. Thank you. / 2999-01-01

Architectural visualization is the art of presenting a yet-unbuilt work of architecture visually. A visualization technique that has become indispensable to the field is photorealism: the goal of emulating photography with computer graphics. The purpose of this thesis was to deepen the most important thought processes for creating architectural visualizations with photorealism. Through three essays I discussed topics that not only I found important for my workflow but have implications for the whole field of photorealistic architectural visualization. The topics related to photorealism and: its the power to deceive, which details that matter most for achieving it, and how the process can be aided with new AI tools. The methods used include primarily document studies and the creation of photorealistic architectural visualizations to showcase findings. The findings of the first essay showed that photorealistic architectural visualizations have a high perceived credibility associated with them because of their relation to photography. Although this also comes with ethical concerns related to them easily deceiving the viewer; the perceived credibility of an architectural visualization doesn’t correlate to it being representative of the yet-unbuilt architectural design it is portraying. Through a set of architectural visualizations, I also discussed why this deception might be unavoidable. The second essay presented thought-processes for identifying aspects of an architectural visualization that might be difficult to achieve photorealism in, and gave possible explanations behind this. The third essay quickly discussed the use of artificial intelligence (AI) as a tool for achieving quick and photorealistic results as a visualization artist. The flaws of using AI tools were also discussed, with a potential way to mitigate them. This thesis showcases how photorealistic architectural visualizations can be complex, both technically and ethically. Certain aspects of an architectural visualization are important to consider both to create ethical representations of yet-unbuilt architectural design, but also to be able to achieve believable photorealism.

Thesis (PhD)--University of Stellenbosch, 2011. / ENGLISH ABSTRACT: The thesis deals with the notion that individuation in drawing provides visible evidence of experiential cognition as embodied action. It asserts that trait as enaction signifies constructive and inventive processes that involve the body-mind. Trait emerges as nonrepresentationist, non-expressive component of drawing that marks the pre-conceptual as conceptual. Therefore, drawing functions as a complex interface between drafter and world that unifies antimonies such as inside and outside; convention and invention; remoteness and intimacy; body and mind; and subject and object. The thesis outlines drawing as a self-reflexive research process that constructs and invents. An understanding of trait as invention, the thesis proposes, can aid the drawing facilitator at higher education level to develop individual student drafters’ creativity. The thesis therefore argues for a form of drawing facilitation that is responsive to the complex interaction between the self and the world. Responsive mediation develops and celebrates diversity in socio-cultural heritage, personal history, and individual differences. / AFRIKAANSE OPSOMMING: Die idee dat verpersoonlikte trekke in tekenkuns sigbare aanduiding van enaktiewe vergestalting van kognisie is, vorm die onderwerp van hierdie tesis. Die tesis stel dit dat vergestaltende ervaringskognisie, as die tekenaar se ervaringsbetrokkenheid, geïndividueerde begrip, vaardigheid, sintese en betekenisvorming moontlik maak en ontwikkel. Verpersoonlikte trekke in tekenkuns blyk van non-representatiewe en non-ekspressiewe oorsprong te wees aldaar dit die prekonseptuele as die konseptuele merk. Dit ondersteun die gedagte dat tekenkuns as ’n komplekse koppelvlak tussen tekenaar en omwêreld funksioneer. As koppelvlak word die tekenkuns verwesenlik as ’n sigbare samevloeiing van dualiteite soos binne en buite, die gewone en verdigting, afstand en intimiteit, subjek en objek, liggaam en gees. Ingevolge ’n enaktiewe beskouing van die tekenkuns kan die tekenhandeling beskryf word as ’n selfrefleksiewe navorsingsproses wat kreatiwiteit ondersteun. Sodanige beskouing van die tekenkuns, lui die argument, kan die fasiliteerder op ’n hoër onderwysvlak help om individuele tekenstudente se kreatiwiteit te bevorder. Daaruit vloei die voorstel vir ’n vorm van fasilitering wat gevoelig is vir die ingewikkelde interaksie tussen die self en die omgewing. ’n Vorm van mediasie wat dit in ag neem, skep nie alleen ruimte vir diversiteit wat betref sosio-kulturele herkoms, persoonlike geskiedenis en individuele verskille nie, maar ontwikkel en vier ook dié soort diversiteit.