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Scene 1
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The video above shows some preliminary tests for the pattern, and how the animated pattern will affect environment light and shadow.
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The Original Artwork as Inspiration“Polka Dots” is a serial of works created by artist Yayoi Kusama. It’s a perfect example of how such a simple motive can be elaborated into a great piece of artwork under the context of contemporary art.
If we look deep into the visual appearance of the work itself, we’ll notice that the fundamental technique being used is “replication of a simple theme". To create what the work presents to us as an intensive visual impact, the artist has build an enormous amount of “Polka Dots” simply based on the most insignificant shape, a spherical dot. Combined with variation in size and color scheme, Yayoi Kusama’s “Polka Dots” became more than a symbol of the artist herself, but also a world known pattern.
Regardless of the artist’s intention, the work’s visual appearance alone can be so interesting, it led me to the idea of creating variations based upon what the artist has achieved. Instead of using paint and brush, the technique involved here will be some programming shader language and 3-D lighting and rendering.
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Concept Art for the New Artwork |
The concept is to have the artist's “Polka Dots” pattern grow upon the surface of a modern architecture environment, accompanied by the changing mood of light and shadow. The aesthetic quality of most contemporary art exhibitions is related to modernism and minimalism, thus creating an ideal stage for showcasing the beauty of the pattern.
Accompanied by time-lapse style cinematography using virtual camera, these concept arts will be turn into a photorealistic experience.
Preferably, the motion should be slow enough for the viewer to notice the connection with the original work, and at the same time, the viewer will notice the impossibility in the real world has been brought to live in the photorealistic 3-D rendering.
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Pattern in Motion |
The pattern was created using RenderMan RSL language, with a technique called “Texture Bombing”, which provides multiple layers of control for an animated texture.
The parameters were then connected to animated keyframes to control various aspect of the texture’s appearance, such as size, randomness, position offset and distribution.
Finally, the textures are connected to multiple parameters in the shader network, to control diffuse color, reflectivity and bump.
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