Swords into ploughshares, indeed. This definition turns the intersections of spears into a series of voronoi cells, and the results look remarkably like the agricultural patterns I saw in Hamburg this summer. Could these voronoi cells suggest fields and floodplains?

More orthogonally, one can use the intersections to create a variegated gridded field:

Trace Elements

After a few weeks of playing around with the Image Sampler, I’ve got to admit that it was exciting to work on something other than a point grid for a while. Below are some hand-drawn diagrams of the three paintings in the San Romano cycle. In some of the images, you’ll see that I was interested in finding underlying geometries in the paintings–something that is more quickly done by eye/hand than in gh. In other drawings, I took a stab at “counting” elements of the painting (a horse, in this case) as I’d imagine gh would–thinking of a horse as a sort of box-morphed object, reoriented in space over and over again.

Pseudo-Code Gesso

Over the past week, I’ve explored using the image sampler to extract shifted, layered fields of points from the Uccello paintings. By overlaying different types of image filters (saturation, brightness, color), I’ve developed a group of linked voronoi patterns that, seen in plan, suggest shifting sectional conditions. That said, these definitions are pretty hefty, so while I sort that out in order to post a .ghx file, I’ll leave you with some hand-drawn pseudo-code diagrams:

GH, Rhino, Illustrator, Gesso, Graphite

yellow trace, ballpoint pen, gesso

yellow trace, ballpoint pen

yellow trace, gesso

Euclidian Sort

This component is a lifesaver. Euclidian Sort orders a list of points according to their coordinates–genius!

Here, I’ve turned it into a quick way to generate a line through a field of points:

This can easily be adapted to generate section cuts through a field of points (explode the interpolated curves, remove the longest pieces, and re-join the remaining geometry).