Studio Artist is the award winning graphics synthesizer created by Synthetik Software

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Raster Image to Vector Point Cloud 17 Replies

Hello, I am currently working on stippling robot to help me with my large scale drawings. I was wondering if there is a way to convert raster image to the cloud of points where their location is…Continue

Started by Igor Molochevski. Last reply by John Dalton Synthetik Software yesterday.

Rolling your own drawings from scratch.

My latest article has recently been published by the Society for Animation Studies, it was also printed in the Melbourne International Animation Festival catalogue which was held a few weeks ago.It…Continue

Started by Jean Detheux Jul 17.

“Identifiers” in Moscow

After Stuttgart, Identifiers will be in Moscow during the…Continue

Started by Jean Detheux Jul 5.

Any News on Studio Artist 5? 2 Replies

Hello, everyone:I have been Studio Artist user for over 2 years. I have successfully combined it's techniques with added post work in Processing. I love this program, and I am hoping that work on the…Continue

Started by Igor Molochevski. Last reply by Ann Passmore Jul 3.

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Otto Laske's Algorithmic Visual Composition

Studio Artist user Otto Laske has a long personal history of exploring different aspects of what he calls digital "algorithmic composition" to create fine art. First in the diverse realms of electronic music composition and computational poetry. Then expanding over time to include the creation of visual music animations. And finally extending to digitally generated visual drawings, paintings, and manipulated digital photography.

Otto has this to say about the development of his algorithmic approach to creating visual artwork and animations.

"The 'algorithmic' thinking that I have adopted in my art making is detailed in two new downloadable pdf documents. An Ebook called 'Fifty Years of Algorithmic Composition' and an essay on 'Permeable Boundaries.' Both texts shed light on a creative process in the strict sense that, in my thinking, transcends conventional boundaries between the arts."

The origin of Otto's movement from music to visual artwork initially formulated in animations he made to visualize his electro-acoustic compositions. They were all 'visual music' animations in the sense that their backbone was the musical score that underlies them. But over time, he expanded his algorithmic visual creativity to encompass the creation of digital still art imagery.

"My process in creating an image is one of fitting together a drawing and a painting based on an animation still. This is a process I have been experimenting with in my Studio Artist software where I continuously find new ways of thinking visually. What elates me when creating an image is the improvisational nature of my process, the spontaneity that my knowledge of the software I use makes possible.

For me esthetic boundaries are entirely permeable, and this is particularly true for the art forms that used to be called photography and painting. I may use animation tools to make a single image rather than a whole series of images as I do when composing a lengthy animation."

Otto's thoughts on algorithmic compositions and expanding focus on techniques for digital painting and drawing continued to expand over time.  A significant step beyond following the source image occurred when he began using animation stills as mere color-shape templates for 'free' painting. Here, the animation still itself is no longer identifiable as the source of the painting.

"Recently, of particular interest to me has been the merger of painting and drawing.

Since I am working with software, after settling for one set of colors, I could theoretically try different color schemes before I settle down for a particular one as the definitive one. But I surmise that the colors I decided to use at the beginning of my creative process have an intimate connection with the drawing that developed, however hard it may be to verbalize this connection.

Technically, what interests me in this work is the possibility of working spontaneously and improvisationally in two dimensions at the same time, such that the drawing influences how colors are used and the colors influence how the drawing develops."

Otto makes heavy use of Studio Artist to create his visual compositions. When asked what he particularly likes about working with Studio Artist, he had this to say.

"Studio Artist is a real gold mine for serious professional compositional explorations in the visual domain. It encourages experimentation and leads to unbelievable serendipity. I really like the ability to work with controlled randomization, a process i first learned in music composition. Paint synthesizer evolution allows one to export hybridized presets, which can then be hybridized further. Paint and image operations can also be mixed together to create more powerful compositional effects."

Otto has been very active participating in a number of fine art exhibition shows over the last few years. Including a solo show at the Newburyport Firehouse Gallery, and the Beaumont Texas Art League. In 2014 he curated his first exhibition, called 'Pixel Revolution', at Rocky Neck Art Colony in Gloucester MA. In this show, he brought together 20 abstract works, half of which were either animation stills or based on animation stills as their source. This show included work by additional Studio Artist users, including Arlene Rabinowitz and Scott Smith.

You can learn more about Otto's artwork, visual music animations, and creative process at his web site. The two pdf documents mentioned above that detail Otto's investigations into digital algorithmic composition for generating artwork are available for download here.

12 x 30, Blind

Studio Artist animator Jean Detheux has a new film called "12 x 30, Blind" that will be in competition in the Arts and Experimentaiton category at the RVCQ festival in Montreal Canada. It will screen at the Cinémathèque québécoise, Salle Claude-Jutra, between 2:35 p.m. and 3:31 p.m. on the 22nd of February (a Sunday). If you can't make it to the screening, the film is available online for viewing here.

Jean worked with composer Don Meyer to create the film. Jean had this to say about their collaborative process.

I proposed to send Don a 6-minute silent movie, for which he would compose the music, but sent to him only one 30-second segment at a time, in chronological order (hence "12 x 30"). My idea was to apply, to the music composition, the process Philip Guston called "inherent composition." This process or, more precisely, this "faith," presupposes that we don't have to have a view of the whole when we create a composition, be it music, painting or movie. It posits that there is "something" at work that "composes" the piece even if (especially if) we do not try to get an overall view of the project.

Jean also has another animated film called "Destination" that will soon be at the California State University Fullerton as part of the World Electroacoustic Listening Room Project (WEALR), part of the 2015 New Music Festival. And a third new film called "Evolution of Song_Y" with music by Wilfried Jentzsch will be appearing at another film festival later in the year. 

For more information on Jean Detheux's work with Studio Artist, check out his web site.
 
 
 

Latest Activity

Paul Perlow posted a photo
8 hours ago
John Dalton Synthetik Software replied to Igor Molochevski's discussion Raster Image to Vector Point Cloud
"I also wanted to point you at bezier path interpolation features, since you are interested in alternative approaches to smooth animation. Here's a tip on working with this."
yesterday
John Dalton Synthetik Software replied to Igor Molochevski's discussion Raster Image to Vector Point Cloud
"Regarding your change in luminance idea. You could generate a selection mask based on frame difference (using temporal ip op for example), and then use that to constrain path start points in the paint synthesizer."
yesterday
Paul Perlow posted photos
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Victor Ingrassia commented on Victor Ingrassia's video
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"Perfect way to describe it. When testing settings with TempImOps, If one is subtle and meticulous in varying settings, one can sometimes crack the visual code. And the source video makes a big difference. In this case the motion (slender fish…"
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liveart commented on Victor Ingrassia's video
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"the temporal ops always fascinate me. Very often the results are chaos. But every now and then we get a glimpse of the world at it might appear if our brains had a different latency factor. "
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Paul Perlow posted a photo
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