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first time morphing with version 4 problems

Posted by Rochus on December 8, 2009 at 11:21am
when following the instructions for the new morph sequence using context, I cannot bezier draw on a "new source and canvas" image. If I start Studio Artist and only select a source image and then use Onion Skin, then I can draw on that. The program keeps quitting when attempting to draw on an actual image.
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Most Abstract Festival in the World

Posted by Synthetik on November 7, 2009 at 7:40am
Thought people might be interested in this so i'm passing the information along. The second edition of Punto y Raya (Dot & Line), which has earned the title of "most abstract festival in the world", will take place from November 25th to 29th 2009 at ARTS SANTA MÒNICA (Barcelona), with no entry fee. the trailer is here. The Opening Ceremony will take place on November 25th at 8.00 pm with the curators, jurors, national and international artists in competition, pyrformers and many others... We'll then continue with the screening of "The Best of Punto y Raya Festival 2007" (for the first time in Barcelona!) and to conclude, cocktail party! ;) The activities include: 1. Screenings of the 2009 Official Competition 2. Screenings of the Retrospective Section: "Larry Cuba and other classics" in 16 mm., curated by the iotaCenter in Los Angeles and introduced by Larry Cuba in person. 3. Conference by Sergi Valverde: “Complex Networks: The Architecture of Life” 4. PyRformances by Alba G. Corral + Nikka; Texas Sci-Fi, Vj Dima and Telenoika Feedback Experience. 5. Workshops for 9 to 12 year-old children, by Laboratorium. 6. Workshops for adults: “Dot·line Experimentation: from the WHAT to the HOW” by our PyRformers. Bring your tools -either analogic or digital- for the realization of dot·line films. 7. Installation: “L’Orquestra dels Luthiers Drapaires” by Telenoika 8. Installation: "enRED" by Anita García 9. Installation and Performance featuring the resulting works from the workshops carried out by Fashion Design students at IED Barcelona. 10. Award Ceremony and Round Table: on Sunday 29th at 7.00 pm, Closing Ceremony with the presence of various national and international artists taking part in the official competition. The web site is here.
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My New MacBook Pro is here!

Posted by Florence Artur on July 25, 2009 at 8:42am
I'm so excited, it's so much faster than my old ailing G5 iMac. It was noisy and slow, and it tended to shut itself down when the weather was too hot.I'm busy now buying all those software upgrades that I was putting off until my computer could handle them. I guess I'll get that early SA 4 upgrade next :-P
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Yay, my iMac is working again!!!

Posted by Florence Artur on May 23, 2009 at 4:23am
My old iMac G5 was getting so sluggish that I was getting resigned to the idea of buying a new computer (not that I don't want to, but I can't really afford to right now). But before hitting the "buy it now" button, I decided to try one last thing: a clean reinstall of everything. Well, everything except all the old stuff that I stopped using ages ago anyway, and maybe some of the stuff that I was still using but may be replaced by new Mac OS features.Guess what: it worked! Everything is so much faster now, and I can watch videos again! Yay!!! I just hope it lasts...
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Visualizing Spatial Frequency

Posted by Synthetik on May 6, 2009 at 11:43am
The concept of spatial frequency has come up several times here on the Studio Artist user forum. And i know that many of you have difficulty conceptualizing spatial frequency. So i wanted to post this picture which i think gets across the concept in an easy to visualize way.

The bottom right corner image shows a series of vertical sine waves that increase in spatial frequency. So as you move from left to right in the image you are sweeping through low to high spatial frequencies. The intensity of the luminance difference in the sine waves decreases as you move from the bottom to the top of the image. What's cool about this is that you can see how your visual system perceives different spatial frequencies. Note that you are more sensitive to viewing spatial frequencies in the middle of the sweep from left to right, which means that you have more less sensitivity to low and high spatial frequencies. Compression codecs used to compress photos or video take advantage of this fact by using less information to store high and low spatial frequencies in an image they are compressing. This simple example only shows spatial frequency at a single angular orientation. Real world images and textures will typically have energy at a variety of different spatial frequencies and angular orientations. Low spatial frequency in a real world image corresponds to the mass of the image, while high spatial frequencies correspond to the edges of the image.
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High Speed Paint Ball Explosion

Posted by Synthetik on March 25, 2009 at 11:10am

This is a cool photo by Alan Sailer on Flickr. I love the look of it. It got me thinking that maybe you could create artificial version of this sort of thing in Studio Artist using displacement warping effects. So you start with a photo of an object and then introduce a series of displacement mapping transformations to simulate blowing it apart.
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Thorrific Synesthetic Reactor Installation at Centraltrak in Dallas, opening Saturday March 28, 6 - 8 pm!!!

Posted by Thorrific on March 25, 2009 at 6:47am
Setina-popup.jpghttp://www.utdallas.edu/centraltrak/calendar.htmSynesthetic Reactor: A Sound and Video Installation by ThorrificThor Johnson’s interactive video installation detects light, motion and audio levels to generate images and sound. The participants experience the archetypes of the collective unconscious mediated through technology. The juncture between light waves affecting the visuals and sound lends a synesthetic quality to the work. There are certain elements that are constant yet the work is in continuous flux and the sense of time is distorted.-----------------------------------------------------super preliminary testing of one component of the Synesthetic Reactor
Testing a Component of the Synesthetic Reactor from Thorrific on Vimeo.
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Some other places I am posting SA created art

Posted by craig deeley on March 17, 2009 at 10:05am
http://greenlightcd.blogspot.com/This blog is a nice receptacle for happy light material... I have been posting here with contributions to http://www.illustrationfriday.com/and will be adding other efforts as well.http://redlightcd.blogspot.com/This blog is where I am channeling material that is more adult oriented... The experiments posted here are often SA created art - but also several other nice drawing applications are represented.
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Visualization as Art

Posted by Synthetik on March 11, 2009 at 2:21pm
I've been noticing more and more art projects that seem to be about taking a real world information stream and visualizing it in some way as a means to generate an artistic abstract image. Here's an example of what i mean:

"Building a More Meaningul Existence" by Daniel Everett Daniel writes..."For this project I used a graphics editor built into an early arcade game to convert spam emails I had received into a virtual landscape. By reconfiguring the graphics editor interface to accept keystrokes as input, I was able to build these landscapes solely by transcribing the spam messages and compiling them. For this piece I specifically chose spam messages that promised me a more meaningful life, increased happiness, and a greater sense of self-worth. " So one question i keep asking myself is 'what new features should i be adding to Studio Artist to make this kind of thing possible for Studio Artist users'? Not necessarily the ability to modulate the paint synthesizer with text (although maybe that would be a cool idea). I'm kind of thinking aloud here and opening up a discussion forum for anyone who would be interested in using or doing something like this in Studio Artist. All of the artists who do this kind of thing tend to be code hackers of some kind so the idea is how to make it simple for people in a context like using Studio Artist without getting into people writing code, or rewiring early arcade game hardware for that matter.
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The Printed Picture

Posted by Synthetik on March 5, 2009 at 1:16pm

I recently picked up a copy of Richard Benson's new book 'The Printed Picture'. It's a rather through journey through the history of the various techniques and technologies used for printing throughout human history. Over the years of Studio Artist development i've tried to add features to allow for the simulation of many of the techniques described in the book. For example, some of Paul's work or the techniques he uses in Studio Artist ended up coming out of discussions we had about various approaches to simulate chromolithography. All of these old approaches to printing, proto photography, post photography are all detailed in the book. It's all presented in an easily digestible manor for the modern attention deficit world way of viewing information, you can open the book at random and read a page or 2 and come away with something. The book reads like an extended version of one of his lectures, and was probably constructed by organizing his lecture material into book form, so it's all fairly easily digestible chunks of information. Again, as someone who needs to immerse himself in understanding the technology of previous approaches to art or printing so we can simulate those techniques in Studio Artist, i find books like this one particularly valuable resources. The whole Japanese approach to applying ink for woodblock printing vs how was done in the western world for example is fascinating to read about, and will probably lead to a new studio artist feature at some point when i get around to implementing it.
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Technocultures: The History of Digital Art - A Conversation

Posted by Synthetik on February 21, 2009 at 12:50pm
Those of you based in New York City of nearby might be interested in this free event taking place in March. Friday, March 6, 6 — 8:30pm School of Visual Arts 133/141 West 21 Street, Room 101C Free and open to the public The MFA Computer Art Department at the School of Visual Arts (SVA) presents Technocultures: The History of Digital Art–A Conversation, featuring influential historical practitioners and researchers on digital art. Department Chair Bruce Wands will moderate. The panel will trace the history of digital art through vignettes and personal anecdotes of four pioneers: Kenneth Knowlton, Margot Lovejoy, Kenneth Snelson and Lillian Schwartz. They will be joined by Jeremy Gardiner and Nick Lambert, who are working with Birkbeck College, University of London, and the Victoria and Albert Museum on a project called Technocultures. Technocultures traces the history of digital art though recent acquisitions by the Victoria and Albert Museum consisting of a collection of approximately 500 digital prints from Patric Prince, a noted digital art collector in the United States and the British Computer Art Society. “This is a historic moment in digital art,” states Bruce Wands, adding, “The Victoria and Albert Museum is taking the international lead in creating permanent archives of early digital work.” The discussion will move from how each of the panelists got involved in digital art and what attracted them to it, to what they are doing today and how digital art is viewed in relation to contemporary and future art practice. Panelists: Computer graphics scientist-turned-artist Kenneth Knowlton collaborated with artists at Bell Labs in the 1960s and 1970s, and for the past 30 years, working alone mostly with his own software tools, has been creating actual and virtual computer-assisted mosaics. He has been featured in numerous books, including Al Seckel's Masters of Deception (Sterling, 2004). Dr. Nick Lambert and Professor Jeremy Gardiner are partners in Technocultures, a major new study of the history, underpinnings and influences of computer-generated art under way at Birkbeck, University of London, in partnership with the Victoria and Albert Museum (V&A), and funded by Britain's prestigious Arts and Humanities Council (AHRC). The project examines the development of computer art from the late 1970s to the 1990s based on the V&A’s collection of artworks, publications and ephemera assembled by Patric Prince, an American art historian who chronicled the nascent computer art scene. Artist and art historian Margot Lovejoy is known for creating installations, books and Web sites that redefine “new media.” She is the author of Digital Currents: Art in the Electronic Age (Routledge, 2004), among other books. A 1988 Guggenheim Fellow, she has been featured in New York exhibitions at the Whitney Museum of American Art (the 2002 Biennial); P.S.1 Contemporary Art Center; and The Museum of Modern Art. In addition, her work has been exhibited in Spain at the Reina Sofia and Castellano Museums, and in Germany at the Center for Art and Media (ZKM). Lillian Schwartz has created a body of work in graphics, film, video, animation, special effects, virtual reality, multimedia and art analysis. Having successfully identified the model for Leonardo’s Mona Lisa, the subject of a 500 year-old controversy, she has recently provided a new interpretation of Leonardo’s Last Supper and identified the face on the Shroud of Turin. Her work spans over four decades, and is represented in the collection of most major museums around the world, including The Museum of Modern Art and the Victoria and Albert Museum in London. She has contributed to scientific research on color perception and sound, and was a consultant at AT&T Bell Laboratories, IBM's Thomas J. Watson Research Laboratory, Exxon Research Center and Lucent Technologies Bell Labs Innovations. She is currently a visiting scholar at the School of Visual Arts and is a fellow of the World Academy of Art and Science. Her archive resides at The Ohio State University. The artist Kenneth Snelson’s interest in fundamental structure is expressed in his monumental sculptures composed of metal tubes inter-suspended by steel cables. Many of his large outdoor works stand in public sites and museums throughout the world. He is also known for a multimedia work spanning five decades, Portrait of an Atom, through which he shows a new visualization of the atom’s electronic architecture. Since 1987, Snelson has used 3D computer graphics to create animations and digital images for his Atom Portrait. An exhibition of his sculptures can be seen at the Marlborough Chelsea Gallery, New York, through March 21. Bruce Wands has been working in digital art for more than 30 years as an artist, writer, curator and teacher. He is chair of the MFA Computer Art Department at the School of Visual Arts, and is the director of the New York Digital Salon. He is the author of Art of the Digital Age (Thames and Hudson, 2006) and Digital Creativity: Techniques for Digital Media and the Internet (Wiley, 2001).
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New ModBook Pro

Posted by Synthetik on January 6, 2009 at 4:55pm
Axiotron announced the new Modbook Pro today. This is a new tablet mac based on the macbook pro. Good news, 15 inch wacom pen writable screen and 2.4 GHz apple pro motherboard with GeFoce 9600 GT graphics processing and touch sensitivity so you can use your finger as well as the pen (at the same time). Bad news, list price of $4999 (ouch). I think this would be a killer machine to run Studio Artist on if you can deal with the rather high entry price.
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Procedural Apple

Posted by Synthetik on December 14, 2008 at 4:38pm

Playing around with an idea for a new MSG processor and this fell out. It's amazing that a randomized math equation can dump out what looks like an abstracted apple to me. This new MSG processor seems to be very good at generating procedural images that often look like designed icons.
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New Flip MinoHD

Posted by Synthetik on November 13, 2008 at 8:54am
Those of you who follow my personal artwork explorations ( studioartist.tumblr.com ) know that i've grown very attached to using a Flip video camera to record video sequences that i then process using Studio Artist temporal ip ops, often to make static panorama images from the video pans or sequences. So i was very excited today when i read a review of the new Flip MinoHD, which records a 1280x720 HD pixel frame size. The Flip i've been using only records a 640 x 480 pixel frame, so the prospect of additional resolution in a small package you can just drop in your pocket and forget until you see an oportunity to shoot some footage is great.
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Piggy Particles

Posted by Thor Johnson on March 25, 2024 at 4:26pm

Hi, here is a new video, lots of MSG (background layer) and MSG generation path starts along with Time Particles in the paint synth, the "Piggy" figure I made in ZBrush and then animated in Blender, with embedded alpha channel, then took into Studio Artist and made into several different kinds of Movie Brushes. Several layers composited together in Blender. Music made with Bespoke Synth and my Shenai. If anyone has any questions about how it was done I'd be happy to explain more.…

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The one that got away

Posted by craig deeley on November 16, 2023 at 3:11pm

A capture of a PasEq playback (all I had left after a crash) I didn't save the over sized Paint Synth Presets that I was adjusting and testing... But I did save the PAsEq. This would be what…

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Thor Johnson commented on Les Wagstaff’s status
"Cool, thanks, I have used Discord for Midjourney, it took a little getting used to, but I get it now."
Apr 18
Les Wagstaff liked Paul Perlow's profile
Apr 16
Thor Johnson commented on Thor Johnson’s status
"To clarify, I did not make this using 3 layers by using the Layers window in Studio Artist, each layer was processed seperately and then put together and exported as a movie in Blender."
Mar 11
Working with Source .png Images – Transparent Backgrounds via Studio Artist AI

Working with Source .png Images Turning the alpha channel on for transparent .png backgrounds When using .png source images with transparent backgrounds, you will need to set Canvas > Selection > Set to > Source Alpha and then Check Mask…

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Jan 11, 2023
Dual Paint Mode Video Explainer via Studio Artist AI

Basics of the Dual Paint Mode, Concepts and How to Create Your Own Dual Paint Presets For More Information on Dual Paint please see this DUAL PAINT POST   For More Information DUAL PAINT POST

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Apr 5, 2022
Erasing the Canvas via Studio Artist AI

How to Erase the Canvas To erase the canvas choose the Eraser Icon at the top of the Interface or choose Canvas > Erase to See this Post for more detailed information on the canvas eraser options.  

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Apr 4, 2022
Preset Management Video via Studio Artist AI

Everything You Need to Know about Studio Artist Presets and Preset Management  

The post Preset Management Video appeared first on Studio Artist…

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Apr 4, 2022
Resizing the Canvas via Studio Artist AI

Resizing the Canvas Please see this tip on Resizing the Canvas And how to Resize the Canvas for High-Resolution Print

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Apr 4, 2022
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