When I first started writing generative graphics code as a student, I spent hours trying to decipher existing work, I wanted to understand how certain mechanics were built, simple things like attractions, avoidance, movement along a curve, simple physics… etc. The list seems endless and I have from time to time found myself back in the mindset of my student days, trying to work out how existing code pieces are built to then add this particular technique to my toolset. In a way it’s similar to the way much design was taught in the old days, you study with a master of the field and in due time, you move on and create your own footprint.
Jonathan Puckey has been making amazing work with Jürg Lehni’s Illustrator plugin Scriptographer. In particular I have been (for a while now) fascinated with the Delaunay Portraits series. With a custom Scriptographer script, you can create simplified renderings of an underlying image.
So I built the ‘Puckey Portrait Machine’ in Processing.
I wanted to understand the dynamics of the Delaunay-Voronoi relationship and I wanted to learn to control it - there’s a certain beauty in exploring mathematics from a naive standpoint, poking at it, changing variables adding bits to see if it breaks. I still do this some times. But in this learning exercise I wanted to gain control and be specific.
I made it a point to try and hit Puckey’s style and aesthetic as close as I could to ensure I was harnessing the mathematics correctly (and not just blindly creating some random, accidental experiment). So far the software has two main drawing modes.
In this mode, you manually place each point with the mouse, this adds the control needed to get to the aesthetics that Jonathan Puckey has in his work, and this was my initial aim.
Following this, I wanted to experiment with more automated renderings, so I wrote a mode to automatically fill the screen with points. This saves a lot of mouse clicking, but complete takes away the ability to control the output. As expected a series of random points on a screen are distributed fairly evenly which results in a muddy and not too interesting result.
I wanted to have the ability to add more detail to certain places of the geometry while keeping the overall randomly generated state mesh. This would allow me to add detail to iconic parts of the face, like eyes and lips.
All of these can of course be exported out as Illustrator vector files and printed in huge formats and in such, they very much relate to the original software piece by Puckney.