• 26Sep
    Categories: Technique Comments: 0

    The Ravages of Time

    The Ravages of Time

    I usually don’t like the straight edges of polygons. They feel too mechanical. I use a simple edge enhancement program called Crack to modify edges. It introduces extra polygons distorting the straight edge. The extra polygons are scaled and they can be made to grow or shrink. This image could represent what’s happening to my face over time. It’s a mess. Each year I have a more difficult time recognizing myself in the mirror.

  • 23Sep

    Digital Art by Charles Csuri


    A fragmentation tool enables me to shatter or displace the polygons comprising an object. I can specify and shatter a section of the object. There are parameters to set distances and the size of clusters of polygons. Rotation is a random feature. Often I accidentally find something interesting. Here I wanted great detail without confusion. Probably 30,000 fragments from numerous copies of the same fragmented object.The color of a fragment is determined by its location in space. I divided the world space into regions of color. Like many of my images I wish we could see it at 12 x 9 feet. I get the sense of layers of debris floating in endless outer space. It’s fun to see something like this moving through space as animation. I can’t wait for my new PC to arrive.

  • 20Sep
    Categories: Digital Art Comments: 0

    Digital Art by Charles Csuri


    I find scale can make a big difference in my appreciation of some images. This is especially true in cases where three dimensional perspective plays a role. Looking at a monitor at about 80 dpi is not enough. Two years ago I had the above image printed at 8 x 6 feet and it was a surprise to me at the impact. The lines look like they are literally floating in space towards the viewer. You become immersed into the space. The file for the large print was about 1-2 gigabytes because the resolution was 28,800 x 21,600 pixels. That was 300 dpi.

  • 18Sep

    Sculpture by Charles Csuri

    Early Sculpture

    Early in my career I saw computer sculpture as an art form. Created in 1968, it may have been the first 3d sculpture. Professor Leslie Miller, a mathematician and member of my Computer Graphics Research Group wrote the code which included control parameters. I was able to experiment with parameter settings and after many versions I selected a candidate for the sculpture. All of this was done with an IBM 7094 computer using punch cards. I found a local company with a 3-axis numerically controlled milling machine. As a curiosity they took on my project and helped me to produce this work. I could not continue to move forward with sculpture because I did not have the resources.