• 13Sep

    Digital art by Charles Csuri


    The path to the realization of visual structure and color is different from painting with oils than working through a color monitor.  The mediums requires different approaches to realize similar goals.  At the outset oil paint is a messy substance and a dead medium to which one gives life. Initially it is flat and opaque. Through the  mixing of colors you build color saturation and intensity to represent something. For some painters this  process may require the juxtaposition of complimentary tones of color to achieve a quality of light.

    The emitting light from a color monitor can give colors the same degree of saturation. Dealing with color saturation and intensity through the monitor is like reverse engineering. You do it backwards. Over saturated color needs to be taken down and brought under control. Sometimes I use atmosphere or transparency to soften a color. The use of ambient light can help with saturation.  It can give more life to darker colors. Intensity is affected by the setting and position of the lights. A shader enables me to modulate a color across a surface. It is always a challenge to keep a sense of a color field.

  • 09Sep

    LEOSlo on Vimeo.  See it on YouTube here.

    I first used a tool to fragment a 3d object. A 2d version of the fragmentation tool was developed for my Hummingbird film in 1967. Then I made copies of the fragmented object and created groups. The animation has several groups which move independent of one another.

  • 07Sep
    Categories: Technique Comments: 0
    Digital art by Charles Csuri

    Digital art by Charles Csuri

    Instead of using a scanned image as a texture map, I generated the texture map with a relatively simple technique. I first generated the ribbon like structure with a set of random numbers. A bspline through the points provides the curvature.  Then with a standard wrap texture shader mapped the first image onto the head and the background. Although the idea is simple enough I tried many variations before the texture worked especially around the eyes.

  • 05Sep
    Categories: Animation Comments: 0

    Unlike a planned storyboard for a narrative film, I do not have a particular plan for the movement and timing of abstract forms in 3d space. Also, it is unlike 2d abstract animation where the movement is up, down, right, left or back and forth. My forms must move along a curve through 3d space. The forms change their appearance as they rotate and alter their speed along this curve.

    My approach to planning is non-linear and unpredictable involving a great deal of experimentation. I like to play with combinations of form color and movement. It is a mixture of insanity and algorithmic thinking. I don’t have the tools I really want. But I do have tools which work within certain limitations. Sometimes these limitations force me to be more inventive in finding solutions. This is where a sense of the ridiculous helps.

    Paint Dance from CsuriVision on Vimeo.   See it on YouTube here.