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Waterlogue is a photo app inspired by Moleskine watercolor journals, urban sketching, artist’s journals and en plain air painting.
The technology developed for Waterlogue transforms your photos into spontaneous, unique, and brilliant watercolor sketches that look like real paintings.
Waterlogue distills your environment down to its essence—just the way an artist would—and turns even an on-the-fly snapshot into something luminous and sublime.
This is an experiment using SpriteKit; it is a single OpenGL shader running on one sprite.
This is not intended to be a realistic sun (with magnetic field lines, etc.) but rather, a sun with expressive flames or filaments. There are a large number of parameters that affect all sorts of elements, such as filament size, chaos amount, etc. Video captured from iPod touch 5G.
Created in Illustrator and Photoshop.
Several other concepts (notebooks, water drops, paint brushes, camera lenses) were taken to a finished state. These other icons communicated the function and sophistication of Waterlogue, but only the whale elicited a strong, positive emotional response from people.
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The Waterlogue website was created with RapidWeaver and various RapidWeaver add-ons. The goal was to create a landing page and support site that was fast to create, responsive, modular, and easy to update.
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This is an animated version of a Processing 1.0 sketch I made a few years ago: tinrocket.com/clouds/
The simple shapes of the clouds are inspired by early 20th century pen & ink illustrations of puffy cumulus clouds. The animation is a byproduct of how the clouds are created.
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Treble—introduced in version 2.0; Hero shot
Inktensity—introduced in version 2.2
Released six months after the 1.0 release, Popsicolor 2.0 is a significant update to my illustration-inspired photo app. The app is currently at version 2.2.
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I created a cross-platform timeline component for BlackBack Technologies Mac and iOS forensic analysis tool, BlackLight.
The Popsicolor website was created with RapidWeaver and various RapidWeaver add-ons. The goal was to create a landing page that was fast to create, modular, and easy to update.
Created in Illustrator and Photoshop.
April 2, 2013; Updated with new texture for Popsicolor 2.1
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I developed a sophisticated comics video filter that runs on the iPhone in real-time. To give the app a test run, I shot some footage at lunch one day and edited it in iMovie on an iPhone. The Magical Apple-esque Music is courtesy of iMovie. This work is currently ongoing.
Patent Pending
The Percolator 2.0 website launched at the same time as Percolator 2.0 and involved the combined efforts of many.
I produced and animated the commercial-style video that appears on www.percolatorapp.com.
Music is by Thomas Gromer of Polarlight Sound. (Thomas composed the very cool music for the Things for iPad video.)
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This experimental iOS Graphics app is ½ old-school 2D pixel editor and ½ 3D global illumination renderer. I developed a ray casting algorithm that uses low- resolution depth and color maps to produce a high resolution rendering with subtle lighting and shading.
From left to right: depth map (user created), color map (user created), depth + color (used for final render), global illumination rendering.
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I designed the graphics and interface skins for an iPad game designed and developed by Sol Robots.
Double Across is a crossword-style puzzle board game that lets you play with up to five other people, or with “famous author” AIs.
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This interactive takes 400+ events—chosen by AP editors—from the past 10 years and presents them on a continuous timeline.
Editors assigned a category-specific “priority” to each item, which is reflected by each item’s size in the timeline. Each item is clickable, bringing up an event description, full image, and photo caption.
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For the AP, I developed this section of a historical overview of the medals won at Winter Olympic Games. The chart components are placed dynamically after the data loads.
A force-directed graph was used to avoid overlapping boxes. Instead of a bounding circle around each node in the graph, I used a bounding box and computed overlap distance between pairs of boxes when relaxing the layout. This yielded a much more efficient “packing” of the items.
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The development of the new AP storm tracking interactive and its underlying map engine involved coordination with the primary data provider and research into competing storm tracking products.
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Polygon detail reduction tools developed for the project enable the map engine to animate monthly indicator data at the county level.
I revisited a project written in 2001 and completely rewrote it using Processing.
Inspired by illustrated children’s science books from the 1950s and Bruno Munari’s Drawing the Sun. Written in Processing.
Produced while beta testing Cinema 4D’s Sketch & Toon Plug-in. Used for promotional purposes by MAXON Computer GmbH.
Low-polygon 3d illustration for Edward Lear’s nonsense poem, The Owl and the Pussycat.
This is another test to see whether or not it is possible to quickly model, pose and render an expressive 3D character for children’s books illustration.
I have used a low resolution mesh to speed modeling and to make the silhouette more decisive. The shading material works with the low resolution mesh to loosely model the surface. Finally, an outline was rendered with the image to make the edges clearer.
This is a test to see whether or not it is possible to quickly model, pose and render an expressive 3D character for children’s books illustration.
I have used a low resolution mesh to give the silhouette an angular finish. I have chosen shaders that gave a soft, modeled appearance to the hare while at the same time enhanced the silhouette with rim highlighting.
3D homage to the rendering style of Chris Van Allsburg.
