Simple dithering with an 8x8 pixel kernel allowing 65 distinct ‘shades’ of grey. What you are seeing is only black and white pixels. Your eyes do the rest (ie. pointalism). Back in the days of low resolution graphics it was a pretty slick technique. CRT monitors helped to blend the colors making it even slicker.
I sat next to a tropical fish tank at a restaurant last night. Needless to say I was blown away by how unbelievably dope the colors and patterns were. After some follow-up research I managed to rip these textures from a photo of a Humphead Wrasse which, if you’ve never seen one, is a disturbing monstrosity of a tropical fish. They’re better dressed than we are though, that’s for sure. More to come.
I’m really excited about how fresh these little guys look. And extremely surprised at how easy doing a convincing hand-animation is. These were with a ball point on notebook paper + minimal photoshopping to get the contrast looking good. Are our society’s withering attention spans ready for fully animated typefaces? More to come.
Each of the unique side to side arrangements of 4, 5, and 6 regular squares, respectively. Math people use them for puzzles but I like them lined up all together like some kind of alphabet or little dudes having a party.
Moving on to tessellations of regular polygons. There are three species of regular tessellations (tri, square, and hex) and nine species of semi-regular or Archimedean tilings. That it. Anything else is demi-regular and infinite in variation. The key is that every vertex or point of intersection must have the same number and type of shapes surrounding it.
I imagined some forms for each tiling. They each have a unique character to them that lends itself to certain forms. They also each have names like ‘Rhombitrihexagonal’.
I’m sure that most if not all of these diagrams have been created before but I’m finding it extremely inspiring to make them myself. Mapping the components of the regular polygon series caused me to notice a pattern of ‘orbits’ or interior duplicates of the exterior shape. The higher the side count, the deeper the repetition. I’m guessing it’s approaching a approximation of the hyperbolic plane as the side count increases or something like that. I don’t really know…
Feathered Organ [January 2014]
I’m realizing that my creative process has an analogue in both the field of artificial intelligence and biology. I’ve found the term ‘emergence’ to be central to what I seem to be trying to tap into. The work is not ‘computer generated’ in the mathematical sense, rather, a given piece is the result of a subjective human algorithm leaving room for aesthetic decision making throughout the process. It would seem distinct from representational, abstract, expressionist, and conceptual theories of art. Undoubtedly it relies quite heavily on the use of computer technology to facilitate a process with any sort of natural flow. To do even a simple work like this with traditional media would be counter intuitive and so time consuming as to make it practically unfeasible. I’m interested in finding other artists working in this paradigm and entering whatever dialogue currently exists on this interesting and seemingly distinct artistic mindset.
Screenshots from Mineral I [January 2014]
See full @ www.calebcossick.com/mineralI.html