The image below is a frame capture from an abstract generative paint animation. The animation is based on the movement of time particles over the course of the animation. The paint time particles are part of a more complicated DualMode Paint preset that also incorporates locally adaptive displacement modulation. The water wash paint preset discussed in yesterday’s Face Melt post is also used to create the dissipative wash effect seen in the animation.
Note that the first Set Canvas – Black action step is muted after keyframe 1 (a black keyframe is a mute keyframe), so it’s only applied to the first frame of the animation.
The 3rd action step is the most important one in the PASeq. This is the step that actually applies paint to the canvas, and generates the movement that occurs over time. The 2nd and 4th action steps are really about creating dissipative effects, as opposed to generating any paint or paint movement over time.
The third action step is based on a DualMode Paint effect, as can be seen in the 2nd gallery image above. The Dual Op for the DualMode Paint effect is based on an image operation effect. The ip op effect used for the Dual Op is the Displacement effect, whose control panel settings can be seen in the 3rd gallery image above.
The paint synthesizer part of the DualMode Paint preset used in the 3rd PASeq action step is based on paint synthesizer Time Particle behavior. Time particles are a feature of the paint synthesizer that allow individual paint stokes to have continuity and associated movement over time in an animation. The first 2 gallery images below show the Time Particle control panel settings for the paint synthesizer part of the DualMode Paint effect used in this animation.
The 3rd gallery image above shows the very first frame of the animation, and gives you a good idea of what the individual paint strokes associated with the time particles look like. Note that the individual time particle paint strokes look like curved soft luminescent cones.
If you look at the 2 Time Particle control panels above you will see that the movement behavior of the time particles at the boundary of the canvas is set to Tile, and the movement over time is set to follow straight line paths based on the source image orientation. This is about as simple as you can get with time particles, you could program much more complicated behavior based on flocking or pen follow/repulse, bouncing at borders, etc.
The gallery images below give some more insight into how the particular shape and luminescent quality of the painting time particles are programmed. The first gallery image shows the Path Start control panel. Note that the Max Stroke control is set to 20, so there are 20 time particles being used in the animation. Remember, time particles are really associated with path start points having continuity and movement over time.