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Computing with Watercolor Shapes

Developing and Analyzing Visual Styles

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  • First Online:
Computer-Aided Architectural Design. Future Trajectories (CAADFutures 2017)

Part of the book series: Communications in Computer and Information Science ((CCIS,volume 724))

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Abstract

Computers help run visually creative processes, yet they remain visually, sensually and tactually distant [1]. This research introduces a drawing and painting process that infuses digital and analog ways of visual-making [2]. It implements a computationally broadened workflow for hand-drawing and painting, and develops a custom drawing apparatus. Primary goal is to develop a computationally generative painting system while retaining embodied actions and tactile material interactions that are intrinsic to the processes of hand-drawing and watercolor painting. A non-symbolic, open-ended and trace-based shape calculation system emerges.

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Notes

  1. 1.

    Visual-making is the practice of producing visible things for exploring visual ideas. Word visual does not only refer to the mode of perception, but it also contains the meaning of the noun version of the word: visual(n) making. The making process is not merely visual in perceptual sense, but also visual in an embodied manner, involving tactual and broader senses.

  2. 2.

    Humaning is a term coined by Tim Ingold. While the noun human objectifies, the verb humaning highlights the acts of ever-becoming human.

  3. 3.

    As described on the Processing website: “Processing is a flexible software sketchbook and a language for learning how to code within the context of the visual arts.” https://processing.org/ [Accessed February 2016].

  4. 4.

    Specifically, in an additive drawing or painting process, the user uses \( x \to x + t(x) \) schema to generate a template that includes multiple instances of the same shape.

  5. 5.

    This is a un-diagram, because diagrams try to represent workflows as completely resolved input-output mechanisms.

  6. 6.

    Hill wrote: ‘As an individual becomes conscious of the relational laws in drawing, he will begin to take notice of similar relationships in experience. The course of the stream moves both ways: experience in drawing—arranging lines creating form and space, relating parts, exploring various materials—will slowly act upon the vision of a sensitive individual, affecting how he sees, even what he sees.’

  7. 7.

    ..and every eye sees those colors ever slightly differently.

  8. 8.

    Watts wrote: ‘…their technique was to separate things into their component parts and to try to understand them by examination and classification of the pieces; their belief was that the best way of knowing a thing scientifically was to “pull it to bits”.’

  9. 9.

    Any sort of generative and advanced computing falls into this category.

  10. 10.

    As unfolded by Edith Ackermann as ‘that which currently stands out as capturing our attention or imagination.’ In personal correspondence in 2014.

  11. 11.

    Hill, Edward. 1966. The Language of Drawing. Prentice-Hall, 25. Hill says: ‘Drawing = Seeing.’

  12. 12.

    http://arts.mit.edu/artists/onurgun/#about-the-artist.

References

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Acknowledgements

This research won the William J. Mitchell ++ Fund in 2015 and the Council for the Arts at MIT Grant in 2016.Footnote 12 I am grateful to MIT for funding and supporting my PhD studies. I would like to thank my former assistant Joie Chang for working on the paintings and the Processing code. Late Prof. Edith Ackermann’s and Prof. George Stiny’s critical approaches to design computing along with Marilyn Levine’s multifaceted support played an important role while this research matured. Beyza Şahin’s input during revisions, writing and editing was invaluable.

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Authors and Affiliations

  1. New Balance Athletics Inc., Boston, MA, USA

    Onur Yüce Gün

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  1. Onur Yüce Gün
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Correspondence to Onur Yüce Gün .

Editor information

Editors and Affiliations

  1. Istanbul Technical University, Istanbul, Turkey

    Gülen Çağdaş

  2. Istanbul Technical University, Istanbul, Turkey

    Mine Özkar

  3. Istanbul Technical University , Istanbul, Turkey

    Leman Figen Gül

  4. Istanbul Technical University , Istanbul, Turkey

    Ethem Gürer

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Gün, O.Y. (2017). Computing with Watercolor Shapes. In: Çağdaş, G., Özkar, M., Gül, L., Gürer, E. (eds) Computer-Aided Architectural Design. Future Trajectories. CAADFutures 2017. Communications in Computer and Information Science, vol 724. Springer, Singapore. https://doi.org/10.1007/978-981-10-5197-5_14

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  • DOI: https://doi.org/10.1007/978-981-10-5197-5_14

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  • Publisher Name: Springer, Singapore

  • Print ISBN: 978-981-10-5196-8

  • Online ISBN: 978-981-10-5197-5

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