Thursday, 30 May 2019

May 28, 2019

Drawn in the Argos Gallery of Santa Fe:

Morning:


Altered with Deep Dream Generator
(using a style based on this red plastic mass made at QueLab)
then faded and overlaid on the original jpg in Photoshop


The svg vectorized version dowloadable here, created online in Vectorizer



The colored figure above
was based on this drawing


Other interesting Deep Dream Generator creations:

I think I have an affinity with what fractallic is animating (this one too) with Mixamo


Background removed with the online app 




Altered with Deep Dream Generator,
(using a style based on this yellow plastic mass made at QueLab),
then faded and overlaid on the original jpg in Photoshop,
Then altered (Filter/Artistic/Plastic Wrap)
base













Afternoon:





Colored with PaintsChainer,
then faded over the original drawing




Vector svg file downloadable here,
created online in Vectorizer


The vector file uploaded and colored in PaintsChainer --
that is, PaintsChainer accepted an svg file,
it does not have to be a jpg file












Evening:




Colored with PaintsChainer


Remove Image Background online program,
with some Photoshop tweaking,
then colored in PaintsChainer










Altered with Deep Dream Generator,
then blended with the original jpg colored by PaintsChainer









Colored with PaintsChainer,
then faded over the original drawing














More digital experiments:

I created a 3D file online in Voxel Canvas,
and animated it online in Mixamo,
then filmed it with my camera 
and uploaded it to YouTube




(download FBX file)


Animated GIF

Ultimately, the illusion that the figure could move, has always been more important to me than whether the drawing resembles the model.

Thus I developed my drawing style in increments, by establishing parameters one by one, and letting the form unfold from there.   First I wanted the figure drawing to obey gravity, then I wanted it to fit in space (like an architects drawing), then it's pieces had to spin, etc...  The look of final image was incidental, and it was often a surprise.

In that way, I resonate with Brian Eno's approach to making music:

"... simple systems can produce complicated results...what I like doing is making systems which produce music and I control the inputs the system ... and then I let it explore the permutations for me"

Likewise with  the MIT Robot guy, Rodney Brooks:

"...let it (robots) do simple stuff, like move about,  then add some more complexity to it, so it would move about without hitting things...have the earlier pieces run in parallel.  To an observer, it appears as though the robot has intentions, and has goals...but it's just the interaction of lots and lots of much simpler processes..."


Using this incremental approach, I really didn't achieve the drawing style that I was aiming for until I was 40 years old.

Even today the drawing is never premeditated. I'm no longer surprised at what the final drawing looks like, since the same set of parameters yield the same kind of look. Now I might lean more towards trying to get a likeness, but that is after the fact.


More important is that the image can change in the middle of the process of drawing.

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