The following image shows 25 randomly generated compositions where the layers can be offset in both directions. This allows for a lot more variation and also for circles to include radial stripes that do not terminate in the middle. I’m about to meet with my tech, Bobbi Kozinuk, to talk about my new idea for a case design and talk about any technical implications. I’ll also create a prototype that will collect the time I look at each composition as a new data-set for training.
The gallery below shows the strongest of all my explorations and refinements of the painting explorations. I’ll use this to set to narrow down to a shortlist that will be finalized and produced. I’m not yet sure about the print media or size, but was thinking normalizing them to ~19″ high to match the height of the Zombie Formalist. This would mean the tallest in this long-list would be ~8.5″ x 19″ (W x H) and the widest ~43″ x 19″. For media, I was thinking inkjet on canvas would emphasize painting.
I ended up adding the padding only to the right edge, which cleans up the hard outer edges of circles, which is where it bothered me the most. I also realized that there were dark pixels around the feathered edges. This was due to a blending error where I was setting a framebuffer to transparent black rather than transparent with the background colour. There are still some jaggies, as shown in the images below, but they are working quite well.
I also made some quick changes realizing that radial lines are never offset inwards or outwards from the circle, this is because offsets were only applied in 1D. I’ve added a second offset parameter for 2D offsets and there is a lot of additional variety. I just realized this also means my previously trained model is no longer useful (due to the additional parameter), but I’ll need to train on some actual attention data anyhow. I’ll post some of those new compositions soon.
After more testing I realized the padding approach previously posted is includes some unintended consequences; Since all edges had padding, the circles are no longer continuous and the padding introduces a seam where 0 = 360 degrees, as shown in the following image. I also noticed that in some cases the background colour can be totally obscured by the stripes, which makes the padding look like a thin frame in a very different colour than the rest of the composition. In the end, while these changes make the edges look less digital, they introduce more problems than they solve.
In my test data for machine learning I was not very happy with the results because of strong jaggies, especially in outer edges where the edge of the texture cuts off the sine-wave gradient. I added some padding on each single row layer on the left and right edges and used a 1D shader blur to soften those cut off edges. This works quite well, but as shown below only works on the left and right edges; the top and bottom stay jaggy: (note, due to the orientation of layers, sometimes these ‘outer’ jaggies are radial and sometimes circular.)
I realized after looking back at this post, that I did not actually post many of my previous shuffled results and I could not remember them. I re-rendered a few so I could reconsider them compared to the unsorted version; they are posted below. The result I thought was most successful is at the bottom. It still does not have the same balance of flow and photographic readability of the unsorted version.
The following images are a few variations on shifting a smaller subset of large percepts that are shifted to the upper 3/4 (top) and middle (bottom) of the stack. Of these partial stacked explorations, I think the top image is the strongest yet, but it still seems too uniform compared to the unsorted version. I have a couple more ideas for variations, but so far nothing is an improvement on the unsorted version.
This is the last painting on the long-list to be explored! I’ll re-post a gallery of the final images that will be the set that I’ll select from for the final works. The top image is my selection, and I’ve included two explorations below it.
Looking back at the sorted and unsorted versions I realized I like aspects of both of them. The sorted version certainly has more flow, but the smaller segments all on top obliterate any photographic reading. The unsorted version is strong because the larger photographic segments are readable, but they also interrupt the flow. The images below show intermediary versions where the segments are sorted, but then a subset of the largest segments are shifted up in the stack (rendering order) to increase the photographic readability. I still think the unsorted version is strongest, probably due to the variation of texture over the image. In these explorations below, the sorting by area means the texture is quite inform. I may try a few more variations where a much smaller section of large percepts moved up higher; in the images below 25% and 15% of the largest percepts are inserted into the middle, top quarter and top 15% of the stack, respectively. I think these partial sorted variations are more intentional than the randomly shuffled explorations; I want larger segments to be near the top, but perhaps not at the top.
The composition of this painting has a large black hole in the middle. The abstraction process seems to emphasize this and I’m not totally sure by the results. The best image (top one) does seem a little too abstract, but the emphasis on that dark area is reduced. I think I’ll try something in between sigma 500 and 600 if this image makes the final cut. Explorations below.
I’ve ruled this painting out due to the lack of contrast.
I can’t say I find anything really interesting about this one, so I’m ruling it out. Following are my explorations.
I’m quite happy with these results; the top image significantly diverges from the figure shape which is still dominant in the two explorations below.
I think these are a little too colourful, but I think the version on the left is sufficient for comparison in the set. I’m getting close to finishing the medium resolution images and I may have to scale down a few high resolution images (paintings 13, 12, 4 and 9), which have been crashing the machine due to memory use.
I’m quite fond of how this one turned out, but on closer inspection I realized the image I’m working from is a scan of a half-tone reproduction (see detail below). If this image makes the selection, I’ll have to find a photographic source. The best image is the largest above with two explorations beneath it.