About Me

I'm just someone struggling against my own inertia to be creative. My current favorite book is "Oh the places you'll go" by Dr. Seuss

Tuesday, May 15, 2007

City Paintings

Series of paintings, 8x2', divided into 16 1x1 quandrants. Huge project, one of those ridiculously complex ideas.

Essentially each painting would depict a street in the Melbourne CBD..

So, one painting would be "Flinders Street", another would be "Collins Street", another would be "Bourke Street". Each street is exactly 8 blocks long, so each block would map to a 1 foot long section in the painting.

The painting would depict a street level view, with the street running horizontally down the middle of the painting, the north side of the street sitting rightside up vertically on the upper half, and the south side of the street upside down on the lower half.

It would have a very flattened perspective.

Once I finish all the CBD streets, I may then tackle gertrude street and smith street. Who knows, Maybe Colfax is next.

Thursday, May 3, 2007

Wanna make your own videogame?

The 6 Indie Mistakes

this article really sums it up. Have an idea, and want to see it become real? Prepare to work really hard for it. The bigger the idea, the harder you must work.

Tuesday, May 1, 2007

Particle Mosiacs

Take 1 photo. Add a particle simulation. Add a particle to the simulation. Watch as this single particle floats around the screen. It is attracted to bright areas. It looks at its immediate surroundings, and locates the direction in which it will find the brightest pixels, and it goes in that direction. As it does so, it gobbles up the light, and adopts its color. As it gobbles up the light, it grows in size, until it settles into a position in which it cannot move to an area which is any brighter than the one it's already found.

Add another particle. It behaves much the same as the last particle, except that it cannot occupy the same space as the previous particle. It is repelled by its presence.

Add another, which behaves as the previous particles, but is repelled by them.

Keep adding particles until the entire canvas is covered in these hungry particles that cluster around the brightest areas, and are nourished by them. The largest particles will be covering the brightest areas, while smaller, malnourished dark particles will have been sequestered to the dark corners of the image.

Once this ecosystem has been saturated, the boundaries of each circular particle can become loose, like jelly. each boundary becomes a new particle simulation, each circlular boundary subdivided into smaller interconnected particles. The interconnected particles are attracted to eachother, and in isolation, pull together, like the skin of a bubble. Their resting state is the size of the original particle, at this resting state, the particles are repelled at exactly the correct distance for this resting size to occur.

At the same time, all the particles across the entire canvas are attracted to eachother- or more specifically, they are attracted to the particles nearest to them.

While the compulsion is for the boundaries to remain circular, there is a stronger compulsion to spread out, and meet with the surrounding boundaries, and form a more complex shape. The forces at work across the canvass will eventually come to a balancing point, where no more movement will occurr. This resting state will be composed of a number of well fitted shapes, colored appropriately, and sized according to brightness. They will be well enmeshed together, and form a faceted image which maintains organic and geometric qualities at once.

Lighting in context

There is a computational photography technique in which a subject is placed within a sphere/dome of lights. The subject is then photographed with each light illuminated one at a time, resulting in a number of photographs equal to the number of lights. These photographs can then be composited together and modified in such a way as to simulate any possible lighting condition. This is achieved by taking a "lightprobe" of an environment and mapping it to the spherical dome of lights- such that each light matches the color and intensity of that corresponding space in the light probe. Or more directly, each photograph which corresponds to a particular light in the light dome is modified to appear as though that particular light had the color and intensity of that cooresponding space. This modification and mapping is done with each photo in the set, and they are all summed together into a single "Exposure", and you end up with virtual lighting.

Isn't it an interesting situation then, if you take this virtual lighting concept, and you combine it with the fact that modern macintoshes are equipped with a camera which is easily accessed from software, and facilities for taking screenshots of the current scene on the screen of the computer. These two could be combined into a sort of "light probe", such that a photographed object could appear on screen and look as though it were lit at the back by the other objects on screen, and lit at the front by the room surrounding the computer.

This illusion could be perfected by a measurement of the brightness of a typical computer screen, combined with exposure information from the iSight. These would be fairly standard across the models of macintosh equipped with built in isights.

Thus a dynamically lit widget could be produced, quite probably with the help of quartz compositor's easy access to isight, and easy integration into widgets.