Photoreal Abstracts?  Alien Artifacts?

In early May 2003 an image called Metal Spiral was posted to the Ultra Fractal (UF) mailing list by Kathy McElroy.  Michael was captivated by it.  He played with it, making variations.

Kathy had used two UF formulas in combination in a powerful way.  Her "base" formula was Susan Chambless' "Centiolier" and her "outside coloring" formula was Dennis Magar's "Doodads."

(A base formula generates numbers based on which fractal algorithm it embodies and which region of the imaginary number plane or "landscape" lies inside the "scene."  A coloring formula takes those numbers and turns them into colors, point by point in the scene.

UF formulas have any number of parameters which the user may manipulate.  These generally have numerical values which may be varied at will.  Parameters differ in the degree of the effect that they have on the overall appearance of the image.  UF allows for multiple layers, which can be merged and blended in numerous ways, just as in Photoshop.  Each layer is capable of being a standalone fractal image in its own right.  Besides the minimum of a base formula interacting with a coloring formula, a layer may also incorporate various transformation formulas, for example the Kaleidoscope transformation, which makes a scene totally symmetrical.  You can see many examples of the use of Kaleidoscope in Michael's Renderosity Gallery.)

Later that week Michael was showing a friend how UF works and used the Centiolier and Doodads interaction as an example.  Varying various parameters and settings, particularly within Doodads' many options, allowed him to illustrate UF's versatility and sophistication.  It turned out that some of the Doodads doodlings he came up with were interesting enough to motivate him to return for a more thorough exploration of the capabilities of these interactions.

Over the course of the next 16 months Michael systematically investigated them.  The fruits of that work are presented in the Centiolier and Doodads Project gallery (link below).

For the first few months Michael kept to simple grayscale images lacking texture (surface patterning) or color.  One complication developed during this phase --- Dennis Magar enhanced Doodads with several new parameters, e.g. "morph."  Michael started incorporating this and other new parameters into his studies.  The number of variations to try went from a large number to an even larger number. 

Here's an example of a grayscale image that became a starting point for further enhancement: Grayscale Starting Point

In July 2003 Michael attended a workshop on career transition and finding one's path.  Participants were given the assignment of committing to something of their choice and declaring that decision to all in attendance.  Michael chose to formally develop the Centiolier and Doodads Project and eventually build a new online gallery showcasing the results.

As of that point, he imposed a moratorium on any new grayscale explorations.  He would instead begin picking the best images from the few thousand he had already saved and prepare them for the gallery.

Michael had thought about adding color and/or texture, but realized that this would add considerable overhead to getting the project done.  He decided to dabble a little with color and texture and see how he felt about opening up that can of worms.  As soon as he saw the effect, he knew he had to continue working with color and texture.  That is why it took him another 14 months to complete the project,  working full-time, seven days a week.

Michael ended up with almost 15,000 saved images.  During the project he stumbled upon new and fascinating textural effects made possible by Doodads.  He limited himself to working only with Centiolier and Doodads.  No transformations or other formulas were used.  Time and again, he would try various parameter settings and numerical values and discover delightful new ways to decorate the underlying base structures.

For those who wonder where the art or artistry is in fractal art, parameter varying is an area where one's artistic intuitions and skills with the toolset allow expression through this modern medium.  Not all parameter settings or numerical values give "good" or pleasing results.  In fact, the overwhelming majority do not.  The fractal artist patiently explores variations, seeking to home in on esthetically advantageous outcomes. Once in a fruitful groove, there can be rich room for maneuvering.  Veins of beauty can be mined.  Though some tools with explicit effects reside in the UF toolset, many times the best effects are only virtual and must be discovered by the intrepid fractal artist willing to sift through myriad parameter variations before finding something worthy.

Another way that artistry enters the picture is through the mastery of color, form, and composition.  Composition here means the balance of elements in the scene, not the placing of pre-conceived components within a scene.  Though some fractal artists succeed at making familiar representational objects with fractal tools, for most fractal artists the subject matter is abstract and not placed "by hand."  Rather it is more like sculpture, where the artist brings forth what is inherent in the raw material.  Using color and texture often enhances what is brought forth even further, sometimes revealing subtle mathematical patterns that would have otherwise have been missed by the viewer.  Even if the patterns are not evident or conscious for the viewer, the piece may be made more attractive and appeal to not just the eyes but the mind as well.

Here's an enhanced version of the previous example image.  This version has added texture and color, as well as having been sculpted further and rotated: Beak Experience

One of the curious aspects of this project experience, and intense fractal explorations in general, is that an artist may go through what are equivalent to "periods" in the lives of traditional artists at a much accelerated pace.  Whether significantly modifying one's color palette, changing from a textural theme or motif that one has used extensively to another, perhaps quite different textural theme, or working with noticeably different underlying types of structures, a fractal artist can go through a series of styles and looks in a short period of time.

The Centiolier and Doodads Project has been an exhilirating adventure of discovery and fulfillment for Michael.  He wishes to thank Kathy McElroy, Susan Chambless, and Dennis Magar for their contributions to making this possible.  He'd also like to thank Frederik Slijkerman, the author of Ultra Fractal, and all the others who have written formulas for the toolset, or have used the tools to brighten our lives with their art.

Visit The Centiolier and Doodads Project gallery.  Enjoy!