Tag Archives: complex

Skybase – “Take That Thing Off My Couch” Music Video

Music video for myself: “Take That Thing Off My Couch” by me. Used After Effects and Premiere CS6, fractals were achieved using Artmatic 5.

And just on that… here are some screencaps from the animation.

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The End of Everything

Worked on several backgrounds meant for personal purposes for my next project. Used StudioArtist 4 and Photoshop. Images were based on manipulated photographs, which were painted over using StudioArtist 4. Much of the work seen here was created in the manner in which the brush worked, so the brush generated the looks itself, but also I took the semi-manual aspect and aided the process to emphasize basic elements of design.

The Beginning of Everything

The Beginning of Everything

The Next End

The Next End

The Death of Everything

The Death of Everything

The Begining of Life

The Begining of Life

The End of Everything

The End of Everything

Ideas and Tricks: Procedural Pixel Art Textures

I’m really not a “pixel art” type of guy. I wish I was, but unfortunately I’m just not as great with it. Now making it more interesting, what about textures? Those are more accessible honestly, and to me they’re a step down from drawings and stuff. So I began investing a bit of time trying to figure out how I can make it happen. After a couple rounds of doing manual pixel art, I realized I can potentially make procedural textures out of it. Of course, it won’t have the same feeling as manually created pixel art textures, but this project was all about how close I can get it. First of all some past things I’ve tried.

This was for my thesis film: The Door to Tomorrow

The things falling apart

I’m not a pixel art artist.

In these two cases above I’m basing the original texture off of procedural means. I had to do this partly because I had little time to generate nice looking backgrounds for the “game scenes” in the animated film. The textures were first generated in FilterForge, then processed again in FilterForge using a filter called: I Dream in EGA by Mike Blackney. The filter has custom color input, so I can choose a couple colors matching the scheme of the texture provided. This way we don’t just end up with the default 16 colors.

Texture filter by Carl. “Concrete or Damaged” (http://www.filterforge.com/filters/3524.html)

I can then pick and choose what parts of the texture I want to use and also erase bits and pieces of pixels accordingly to have “stuff sticking out.” The method is simple, rapid, and quite good looking as long as you don’t change pixel scales.

But I kinda wanted a bit more. So I began investing some time doing more manual pixel art to learn the little things considered. There are tons obviously, and after studying more pixel-art based textures, I came up with a small method allowing for the style to be achieved while providing the ease in deployment. Of course, this is FAR from being a complete solution to achieving that specific clarity in style, but it’s decent small step forward.

I have a copy of FilterForge 4 beta 1, and they featured groups. I’m using that. Meet the Pixel Shader, the grouped component that takes a color map and height map and spits out pixely textures with shading.

PixelShader! Makes pixely textures.

The method employed here is actauly relatively simple. The output look is what’s difficult to achieve. In creating the little shader there, I basically had to modify the entire texture to suit a nice looking image. So it’s a bit more work than just “plug and play” unfortunately. But the deployment is fairly easy and the adjustments you have to make to the filter are pretty basic.

The internals of this component isn’t impressive at all. It’s in fact stupid simple.

Nothing fancy here… just a couple derivatives doing something

The package contains two derivatives so you can have two directional lights with controllable colors. There’s an ambient lighting, shading bias, and several more options to fill in the goodness. The final stage is the pixelation, which happens via a checker node. I use this because it has two color inputs, so if you input another image into that checker, you get a “checkered” result between two images. This can be useful for a “dithered” look. In this case the filter isn’t needing that effect so the output comes straight out.

The whole filter in action

But in the end, what you ULTIMATELY need to do is design a good texture to begin with. In this case, I designed the filter and had to modify it so it would work with the system I implemented. The idea here is that the little component isn’t doing the entire job, it’s the whole filter that’s giving it the good look and effect of it.

I went around modifying other filters too so to achieve the same effect. A couple months ago I produced a filter that created SciFi Tech walls. It’s a pretty detailed filter and I thought… it can use a bit of pixelation. Here’s a screen cap of the presets after adding the Pixel Shader group component to the filter.

These might be quite visually too much if used practically, but it’s still a good starting point for detailed pixel stuff.

Of course, it’s flawed in that it’s not the true goodness of hand crafted pixel art. I’m not going to state here I’ve made the pixel art machine, but it kinda gets part of the job done. In my mind, the next step after producing the texture is to actually go in and give more context by hand. I made this to help myself a bit along the way and not necessary to finalize a product.

While I don’t want to be too restrictive, I’ll need to keep the filter to myself for now. There’s still a lot of things being developed for it and I’m using it personally in my job as well. This post does expose some of its secrets but doesn’t explain it all.

In part two of this discussion, I’ll talk a bit more about designing the filter so it works around the Pixel Shader.

At the Edge of All Colors

Directly from my Behance page: A small exploration of color continues with fractal-like images. I created a filter using FilterForge and sampled the colors directly from a couple photographs.

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Mr. Rectangle Meets Color

Procedural work using FilterForge in exploring color and design. Each design was derived off of 5 colors I’m interested in. The images were created using  a custom filter in FilterForge and processed by hand using Adobe Camera Raw.

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Together and Forever Gone

Some generative works using Studio Artist 4 and a bunch of pictures. The one thing about this process is that it’s mostly automatic once you set the brush preset up. I made some minor edits later on using ACR. It’s an interesting effect and not that hard to do either, took a bit of thinking to get the thing working right but the overall process wasn’t too bad.

Each image is around 4000 pixels wide although for web purposes I’m uploading just the small versions.

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More Experiments with Lines

These are honestly quite an eye-sore but that’s more like the fun of it :) Yup! Super complex fun Artmatic creations. These were edited in ACR, consequently all renders are poster quality.

Experiments with Lines

Some experiments with patterned lines I tried back in 2011. Never really got to publish them so here they are :)

These were done using Artmatic 5 and edited mildly using ACR.

Complex Systems

Lost in Tokyo City. This could be an interesting experience if you really don’t know what’s going on. It’s an uncomfortable experience being lost in a huge city. Everywhere you look you either see something different… or you see something repetitive.

I have uploaded the complete gallery online for viewing.

And the method? It’s really just tedious work over a span of several weeks.

Update: Seems like PetaPixel featured my works here. And I totally forgot to mention within the description: these are synthetic photographs made by tediously piecing elements from 1 photograph into multiple images. The other thing that you may have not noticed is that these are seamlessly tillable, in other words if you take the images (without the vignetting) the image will perfectly tile each other. The whole idea was that I would go and print these in mass loads without borders and would stick them up on a huge wall across space. This never happened, but I plan to find a way to do this sometime in the future.

These images, while they’re presented as photographic work, it also later became great texture resources for my film, “The Door to Tomorrow.”  I mean, they’re just so useful on their own :)

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