My hand-drawn animation Lumberjackass has been selected for the One-Off Moving Image Festival on the theme of humans vs nature.

65 one second movies

10 60 seconds movies

Movies are screening february 18-24, 2019 in public spaces in Valencia(ES) and Gol(Norway) in addition to the net, using QR-codes and offline wifi-spots to access with smart devices.

Participating artists:

Agne Petrulenaite, Alan Sondheim, Alexander Ness, Anne Fehres, Antonello Matarazzo, Bach Nguyen, Benna G. Maris, Brade Brace, Bubu Mosiashvili, Chih-Yang Chen, Claude Heiland-Allen, Dan Arenzon, Elaine Crowe, Elle Thorkveld, Eric van Zuilen, Eylul Dogruel, Fabian Heller, Fair Brane, Gyula Kovacs, Jaime Orlando Vera Zarate, Jeppe Lange, Jessica Gomula, Joonas Westerlund, Jorge Benet, Joseph Moore, Julia Dyck, Jun-Yuan Hong, Juno, Jurgen Trautwein, Kevin A. Perrin, Khalil Charif, Kirsten Carina Geisser and Ines Christine Geisser, Klaus Pinter, Lin Li, Luke Conroy, Maria-Leena Raihala, Michel Heen, Natallia Sakalova, Nico Vassilakis, Nigel Roberts, Oonagh Shaw, Paul Wiegerinck, Robin Vollmar, Sara Koppel, Sidsel Winther, Silvia Nonnenmacher, Stefanie Reling-Burns, Tatsunori Hosoi, Theodora Prassa, Tija Place, Tivon Rice, Vivian Cintra, Vreneli Harborth, Ynfab Bruno, Yuqi Wang, Zhu HusselWe're collaborating with 60Seconds Festival in Copenhagen(DK) taking place in parallel, to screen a selection of the 1 sec movies mixed with 1 minute movies in Copenhagen, Frederiksberg, Køge and Helsingør during the festival week.

In addition, all 1 second movies will be included in the next Leap Second Festival, an irregular x-ennale lasting one second.

Media: 4B pencil, 2H pencil, layout paper, flatbed scanner, GIMP. No sound.

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A black-and-white A5 paperback with 100 pages of Turing patterns, hand-selected from 1000s of candidate images generated by a multi-layer reaction-diffusion biochemistry system simulated on digital computer as a coupled cellular automaton.

Click the picture above for lots more information, including photos, and links to print-on-demand and source code too (a fork of my cca project).

I generated the page images as 100dpi bitmaps, then vectorized with potrace. The printed copy is really nice, smooth white paper good for colouring and a bright glossy cover. One small issue is that it's hard to get pencils right into the perfect binding, but I expected that before I had it made.

This project is what my GPU temperature throttle was for, though I'm sure it'll come in handy for other things as well.

]]>A while ago I read this paper and finally got around to implementing it this week:

Real-Time Hatching

Emil Praun, Hugues Hoppe, Matthew Webb, Adam Finkelstein

Appears in SIGGRAPH 2001

The key concept in the paper is the "tonal art map", in which strokes are added to a texture array's mipmap levels to preserve coherence between levels and across tones - each stroke in an image is also present in all images above and to the right:

My possibly-novel contribution is to use the inverse (fast) Fourier transform (IFFT) to generate blue noise for the tonal art map generation. This takes a fraction of a second, compared to the many hours for void-and-cluster methods at large image sizes. The quality may be lower, but something to investigate another time - it's good enough for this hatching experiment. Here's a contrast of white and blue noise, the blue noise is perceptually much more smooth, lacking low-frequency components:

The other parts of the paper I haven't implemented yet, namely adjusting the hatching to match the principal curvature directions of the surface. This is more a mesh parameterization problem - I'm being simple and generating UVs for the bunny by spherical projection, instead of something complicated and good-looking.

My code is here:

git clone https://code.mathr.co.uk/hatching.git

Note that there are horrible hacks in the shaders for the specific scene
geometry at the moment, hopefully I'll find time to clean it up and make it
more general soon. You'll need to download the `bunny.obj`

from
cs5721f07.

So I was all set to go to Vilnius but the stress of the project burnt me out hard. Out of hospital again now, and the time wasn't entirely unproductive:

Not in any particular order (apart from a couple of series). Mixed media: pencils, pens, charcoal, chalk, wax crayons, ink, paint, tea; mostly plain paper, some grid paper, some tissue. I averaged around 1 image per day.

]]>At craft and design group we were given the chance to customize a t-shirt with fabric paint. I looked through some stencils in a box and a jellyfish caught my eye. It was tiny though, and a bit too intricate for my taste, so I designed an SVG version by typing numbers in a text editor defining circular arcs, with plenty of previewing in the browser to check that the curves were sweeping the right way. My first attempt wasn't so great, so I modified it to make the wibbles less severe.

Then the lovely Jo cut it out of card with her Silhouette Cameo machine and I had a stencil to use. Another group member made an eye-catching design by flicking paint from a brush with a stencil to mask his design, so I borrowed that technique. I stuck the stencil to the t-shirt with a glue stick so it wouldn't move, then applied paint of various colours:

The paint spray splodges are very fine, so it looks a bit fainter than I had imagined it, but it turned out ok.

]]>Pencil and watercolour citrus slice collaged:

Monotype print (painted on perspex then transferred to paper):

Second print augmented with pastels:

An abstract print with lines:

An abstract print with circles:

Pastel landscape with multiple colours blended:

Pastel mug:

Pastel moonscape:

"Trousers" print from dented polystyrene:

"Waves" print from dented polystyrene:

"Eggs" print from dented polystyrene:

Black and white collage:

Oil pastels and watercolour:

]]>A computer-aided drawing using conformal mapping and hyperbolic tiling. The title is taken from ancient Greek mythology.

I found some old but cool software for numerical conformal mapping: Zipper. It's slightly weird to use, but it seems quite powerful. For my purposes I didn't like the way it skipped output for points that weren't inside the target region, so I patched its FORTRAN 77 code to output nonsense values instead. This makes sure that the Nth line of output corresponds to the Nth line of input.

diff -ruw conformal/zipper/inverse.f conformal-new/zipper/inverse.f --- conformal/zipper/inverse.f 2010-10-12 16:51:27.000000000 +0100 +++ conformal-new/zipper/inverse.f 2013-08-17 02:41:54.644940816 +0100 @@ -76,11 +76,8 @@ c a circle to the disk is not 1-1 on the outside. c thus we will just delete these points. if(x*x+y*y.gt.(1.d0+1.d-8))then - write(*,*)' ' - write(*,*)' z(j) outside region, so pullback outside disk,' - write(*,*)' and will be eliminated from output.' - write(*,*)' j=',j,' inverse of z(j)=', z(j) - goto 984 + x=-100 + y=-100 endif write(3,999)x,y 984 continue

Zipper's demo csh script provided me with enough clues to write my own driver script in bash:

#!/bin/bash # generate raw mipmap data for the source tex.png for d in 1024 512 256 128 64 32 16 8 4 2 1 do convert tex.png -geometry "${d}x${d}" tmp.ppm tail -c "$(( d * d * 3))" tmp.ppm done > texture.rgb # generate the shape to fill with butterflies ./curve > init.dat # massage the shape into zipper input ./zipper/polygon >/dev/null <<-"EOF" init.dat 500 poly.dat EOF # compute the conformal mapping ./zipper/zipper >/dev/null # calculate the pre-images in the unit disk for each pixel rm "preimage.grid" touch "preimage.grid" for j in $(seq 1800) do ./row "${j}" > "grid.dat" ./zipper/inverse >/dev/null <<-"EOF" grid.dat grid.pre EOF cat "grid.pre" >> "preimage.grid" done # fill with a textured hyperbolic tiling ./tile < preimage.grid > tiling.ppm # finally composite with the bottle and stopper in gimp

I wanted to generate an image with 2:3 aspect ratio, so I chose the logical coordinates of the image to be in [0,4]x[0,6]. I wanted a reasonable resolution, so the device dimensions are 1200x1800. I generate mipmaps from the base texture for anti-aliasing.

Generating the boundary curve is quite easy, as zipper/polygon reads input from a text file with one point per line, with the last point specifying which point inside the simple closed curve formed from the previous points will be mapped to the origin of the unit disk. My curve has a regular octagon at the bottom with the centre of the top edge at (2,1). The edge length is e and the centre of the octagon is at (2,h), with r being the distance from the centre to each vertex. The neck of the bottle has height e/2, and then it extends up and out at 45 degrees to far beyond the page boundaries (to avoid a visible edge within the final image).

#include <math.h> #include <stdio.h> const double pi = 3.141592653589793; int main(int argc, char **argv) { double e = 1 / (1.5 + sqrt(2)); double h = e * (1 + sqrt(0.5)); double r = sqrt((e/2)*(e/2) + (h-e/2)*(h-e/2)); double x, y; for (int i = 0; i < 8; ++i) { double t = pi / 2 + pi / 8 + i * pi / 4; x = 2 + r * cos(t); y = h + r * sin(t); printf("%f %f\n", x, y); } y += e/2; printf("%f %f\n", x, y); x += 20; y += 20; printf("%f %f\n", x, y); x -= 20 + e + 20; printf("%f %f\n", x, y); x += 20; y -= 20; printf("%f %f\n", x, y); printf("%f %f\n", 2.0, 1.0); return 0; }

Zipper's inverse program has a hardcoded limit on the number of points it can transform, and rather than try and fix it I split my input into smaller batches - one for each row of pixels in the output image. Outputting a row's coordinates to a text file works like this:

#include <stdio.h> #include <stdlib.h> int main(int argc, char **argv) { int j = atoi(argv[1]); double y = j / 1800.0 * 6; for (int i = 1; i <= 1200; ++i) { double x = i / 1200.0 * 4; printf("%f %f\n", x, y); } return 0; }

The last step in the driver script takes the transformed coordinates (which are now inside the unit disc, or (-100,-100) for points that were outside the region) and computes the colour for each pixel. First define some constants and global variables (not the best coding style, but it worked for this small program):

#include <math.h> #include <stdio.h> const double pi = 3.141592653589793; const double c = -0.5; // cos(2 * pi / 3) const double s = 0.8660254037844387; // sin(2 * pi / 3) const double sqrt3 = 1.7320508075688772; // sqrt(3) static double center, radius; static int lod = 0;

Here center and radius will be set to the circle that forms the right hand edge of an equilateral hyperbolic triangle centred at the origin in the Poincaré disk, and lod is used to pass the computed mipmap level of detail from the main loop through to the texture lookup.

The texture lookup code is probably the worst code I've written for some time. There's a huge global structure to contain the raw texture data read from disk, and copy/paste coding to grab the right mipmap level's data and send it to stdout.

static struct { unsigned char m10[1024][1024][3]; unsigned char m9[512][512][3]; unsigned char m8[256][256][3]; unsigned char m7[128][128][3]; unsigned char m6[64][64][3]; unsigned char m5[32][32][3]; unsigned char m4[16][16][3]; unsigned char m3[8][8][3]; unsigned char m2[4][4][3]; unsigned char m1[2][2][3]; unsigned char m0[1][1][3]; } texture; void texture2D(int j, int i) { i >>= (10 - lod); j >>= (10 - lod); switch (lod) { case 10: putchar(texture.m10[j][i][0]); putchar(texture.m10[j][i][1]); putchar(texture.m10[j][i][2]); break; // ... and so on all the way down to ... case 0: putchar(texture.m0[j][i][0]); putchar(texture.m0[j][i][1]); putchar(texture.m0[j][i][2]); break; } }

The hyperbolic tiling is generated by reflections in the sides of the hyperbolic triangle mentioned earlier. Hyperbolic reflection in the Poincaré disk model is circle inversion. There are three sides, so there are three transforms, and each side is rotated about the origin by 2pi/3. The circle inversion is implemented once in transform1().

void rotate(double x, double y, double *x0, double *y0) { *x0 = c * x + s * y; *y0 = -s * x + c * y; } void unrotate(double x, double y, double *x0, double *y0) { *x0 = c * x - s * y; *y0 = s * x + c * y; } void transform1(double x, double y, double *x0, double *y0) { double x1, y1, r1, x2, y2; x1 = (x - center) / radius; y1 = y / radius; r1 = x1*x1+y1*y1; x2 = x1 / r1; y2 = y1 / r1; *x0 = x2 * radius + center; *y0 = y2 * radius; } void transform2(double x, double y, double *x0, double *y0) { double x1, y1, x2, y2; rotate(x, y, &x1, &y1); transform1(x1, y1, &x2, &y2); unrotate(x2, y2, x0, y0); } void transform3(double x, double y, double *x0, double *y0) { double x1, y1, x2, y2; unrotate(x, y, &x1, &y1); transform1(x1, y1, &x2, &y2); rotate(x2, y2, x0, y0); }

The process of generating a tiling is by reflecting the original point in all the sides. If the new points are all further away from the origin, then the original point must be in the root triangle, otherwise pick the the new point that is closest to the origin and repeat (giving up if it takes too many steps). Once within the root triangle, reflect in the x-axis if necessary so that there are an even number of reflections in total - this makes the orientation of all the triangles the same. This is particularly important as some tilings might have paths with different numbers of reflections from nearby original points in the same triangle to their final points in the root triangle, which would give an unsightly seam.

Once this terminates, if we're in the root triangle then we need to look up the pixel colour from the texture. But a hyperbolic triangle is curved, and a texture is a flat square grid. I used ternary coordinates, computing the distance from each edge in the hyperbolic triangle, and using their ratios to compute a point in a flat triangle embedded in a square. The distance() function here is actually Euclidean distance which is not quite right, but the maths for hyperbolic distance is much more involved, and I'd need to work out how to find the closest point on a given line to a given point in the Poincaré disk model.

double distance(double x, double y) { double dx = x - center; double dy = y; return sqrt(dx * dx + dy * dy) - radius; } void colour(double x, double y, double r, int depth) { if (0 < depth && r < 1) { double x1, y1, r1, x2, y2, r2, x3, y3, r3; transform1(x, y, &x1, &y1); r1 = x1*x1+y1*y1; transform2(x, y, &x2, &y2); r2 = x2*x2+y2*y2; transform3(x, y, &x3, &y3); r3 = x3*x3+y3*y3; if (r <= r1 && r <= r2 && r <= r3) { if (depth & 1) { y = -y; } rotate(x, y, &x1, &y1); unrotate(x, y, &x2, &y2); double a = distance(x, y); double b = distance(x1, y1); double c = distance(x2, y2); double k = a + b + c; a /= k; b /= k; c /= k; double u = b + c / 2; double v = sqrt3 * c / 2; int i = fmin(fmax(1024 * u, 0), 1023); int j = fmin(fmax(1024 * v, 0), 1023); texture2D(j, i); } else if (r1 <= r2 && r1 <= r3) { colour(x1, y1, r1, depth - 1); } else if (r2 <= r1 && r2 <= r3) { colour(x2, y2, r2, depth - 1); } else if (r3 <= r1 && r3 <= r2) { colour(x3, y3, r3, depth - 1); } else { putchar(255); putchar(255); putchar(255); } } else { putchar(255); putchar(255); putchar(255); } }

The main program computes the generating triangle (here a {3,7} tiling) and reads the raw texture mipmap data. Then it spits out a PPM header, and computes colours for all the input coordinates. The most interesting part is the level of detail computation: h is the hyperbolic distance between two neighbouring pixels, the ratio of this to a base distance h0 determines how much the image has been stretched or shrunk - looking up into an appropriately filtered and downscaled texture for parts that are shrunk is the essence of mipmapping, providing a computationally cheap way to avoid aliasing.

int main(int argc, char **argv) { double dh = cos(pi / 7) / sin(pi / 3); double de = sqrt((dh - 1) / (dh + 1)); radius = (1 - de * de) / (2 * de); center = radius + de; FILE *tex = fopen("texture.rgb", "rb"); fread(&texture, sizeof(texture), 1, tex); fclose(tex); printf("P6\n1200 1800\n255\n"); double x, y; double ox = 0, oy = 0; double h0 = acosh(dh) * sqrt3 / 256; while (2 == scanf("%lf %lf\n", &x, &y)) { double h = acosh(1 + 2 * ((x - ox) * (x - ox) + (y - oy) * (y - oy)) / ((1 - x * x - y * y) * (1 - ox * ox - oy * oy))); lod = 10 - log2(h / h0); lod = lod < 0 ? 0 : lod > 10 ? 10 : lod; colour(x, y, x*x+y*y, 32); ox = x; oy = y; } return 0; }

There are a few enhancements left to do (mainly interpolation within and between texture mipmap levels for smoother appearance), and it might be fun in the future to make an animation of the stopper being removed, but it's good ennough for now.

]]>I drew the image above last August. Yesterday I translated it into GLSL source code in Fragmentarium and generalized it to different numbers of points and points to skip when forming the star:

#extension GL_EXT_gpu_shader4 : enable #include "Progressive2D.frag" #group Star uniform int Points; slider[5,8,16] uniform int Stride; slider[2,3,7] const int depth = 128; const float pi = 3.141592653; float a = pi / float(Points); float R = 1.0; float r = R * cos(a * float(Stride)); float f = r / cos(a); mat2 rot = mat2(cos(a), sin(a), -sin(a), cos(a)); bool clockwise(vec2 a, vec2 b, vec2 c) { return (b.x - a.x) * (c.y - a.y) - (b.y - a.y) * (c.x - a.x) < 0.0; } vec3 color(vec2 p) { vec2 z = p.yx; bool inside = (Stride & 1) != 1; for (int i = 0; i < depth; ++i) { if (length(z) < f) { z /= f; if ((Stride & 1) != 1) { z *= rot; inside = !inside; } } else if (length(z) < R) { for (int j = 0; j < Points; ++j) { float a0 = 2.0 * float(j) * a; float a1 = 2.0 * float(j + Stride) * a; vec2 p0 = R * vec2(cos(a0), sin(a0)); vec2 p1 = R * vec2(cos(a1), sin(a1)); if (clockwise(p0, p1, z)) { inside = !inside; } } break; } else { inside = true; break; } } return vec3(inside ? 1.0 : 0.0); }

They look like this:

]]>Some more drawings I did in hospital in the summer.

]]>Some drawings I did in hospital in the summer.

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