Series 2 / Part 3
I took a different tack with this piece. In the quest to find that elusive natural and organic feel in a computer generated graphic, I have worked on the basis that more complexity is better. To some extent this may be true, but I wanted to explore whether I could achieve something appealing with simplicity, and without overworking and overthinking a piece.
There’s not much to be said about Spawn, and that’s intentional! It’s designed to be a simple, even a simplistic piece, with a comic like quality. In not overthinking this piece, I chose an arguably overused staple of computer artists, the so-called Perlin Noise, an algorithm for producing attractive randomness. Ken Perlin developed this algorithm during production of the early computer animated movie Tron in 1982.
The Perlin Noise dictates the location, size and colour of the squares placed on the canvas. Apart from some overwriting of each square several times with a bit of jitter, I resisted the temptation to fiddle too much more!