Generative Designs
Touchdesigner, AR/VR
Looking into generative concepts that leverages computational processes to generate rang eof design options. Keeping context in mind, using this methodology to evaluate and explore variations and experimentations.
World Through Computer’s Eyes
Computer vision has been a perception analytic exploration since the evolution of computers. Bridging with artificial intelligence, it marked as a scientific field that enables computers to automatically see, identify and understand the visual world, simulating the same way the human vision does. With the digitization of technology, the perception of visual and text has been converted to information visualization. New innovations have been evolving to new medium inventions, purposes clarified and programmed to perform tasks given by user.
Here are some Generative Art Experimentations done in Touch designer software exploring aspects of computer vision.
Object detection
Image classfication
Image segmentation
Feature matching
Edge detection
Pattern Detection
Facial recognition
Matrix like Simulation
Pixel Identification
Barcoding and Reading
Segmentation images
Patterns and Feedback
Tracings and Recognition
Traditional art creation methods have long followed established norms. However, in the face of technological progress, creators are now pushing boundaries. Instead of confining art to static canvases, what if the canvas itself could be transformed? This project delves into tangible interaction, where we merge digital and physical mediums using various tools and techniques.
Here, the focus is on physically manipulating digital art, experimenting with materials to impact the digital artwork in real-time. This involves working with pieces of clay affixed to pencils at varying heights, enabling layer-wise sculpting. The output is observed through Touch designer software on a laptop, utilizing the video camera and mouse for real-time drawing, overlay, and opacity adjustments.
Following video capture, background imagery is masked to isolate the clay models and define their boundaries. The outline is converted into points that a particle effect interprets, generating a looped output. This particle effect serves to visualize user interaction in real-time, capturing both recent and prior interactions with the clay models. As users engage with each clay model at different heights (reflecting different overlay levels), their actions are translated through the particle effect. Finally, mouse movement across the screen unveils the silhouette amidst the surrounding colors.
Once the clay capture process is completed, drawings over the sculptures are deliberately excluded, a manipulation controlled by the mouse's position. This results in colored areas outside the masked silhouettes, creating a negative print on the screen. This negative space mimics a silhouette, providing a unique perspective on art installations. Through tangible interaction, we witness the formation of real-time silhouettes, achieved by adding colors beyond the clay sculpture, effectively printing a negative image. This project showcases the convergence of physical materials and digital tools, bridging the gap between physical and digital art forms while embracing contemporary silhouette art installations.
Here, the focus is on physically manipulating digital art, experimenting with materials to impact the digital artwork in real-time. This involves working with pieces of clay affixed to pencils at varying heights, enabling layer-wise sculpting. The output is observed through Touch designer software on a laptop, utilizing the video camera and mouse for real-time drawing, overlay, and opacity adjustments.
Following video capture, background imagery is masked to isolate the clay models and define their boundaries. The outline is converted into points that a particle effect interprets, generating a looped output. This particle effect serves to visualize user interaction in real-time, capturing both recent and prior interactions with the clay models. As users engage with each clay model at different heights (reflecting different overlay levels), their actions are translated through the particle effect. Finally, mouse movement across the screen unveils the silhouette amidst the surrounding colors.
Once the clay capture process is completed, drawings over the sculptures are deliberately excluded, a manipulation controlled by the mouse's position. This results in colored areas outside the masked silhouettes, creating a negative print on the screen. This negative space mimics a silhouette, providing a unique perspective on art installations. Through tangible interaction, we witness the formation of real-time silhouettes, achieved by adding colors beyond the clay sculpture, effectively printing a negative image. This project showcases the convergence of physical materials and digital tools, bridging the gap between physical and digital art forms while embracing contemporary silhouette art installations.
