With this series of works, my acquaintance with TouchDesigner began. When I first opened the program, I started to figure it out and was pleasantly surprised by how familiar it felt to me, despite the fact that I was using it for the first time. It reminded me of Houdini, as the two have a lot in common. Very soon I started using GLSL because it was the way to have full control and complexity in real time. With my academic background, I wanted to explore how traditional art and visual aesthetics can look in the format of real-time generative video.
I found some example implementations of real-time fluid simulation algorithms, as well as other interesting materials. As a result, the work “Fluid Painting” emerged, reminiscent of watercolor with spreading paints. The second work, “Graphic Painting,” is more valuable to me because it turned out aesthetically just as I imagined and wanted to see it at that moment.
These works do not carry deep meaning; they focus on techniques and methods, demonstrating what this approach can look like. For the video source, I used the film “Samsara,” which was magnificent. Every frame in it is composed and colored impeccably. With such a source, it was hard to produce anything ugly.