William Gibson Covers
2010 - 2014 Commissioned by Penguin Books UK for William Gibson's Zero History cover and followed up with a refresh to some of the back-catalogue.
2014. This system, developed with Processing, generates random and parametric concentric circular 3D models for export to game engines and 3D packages.
It was used extensively on a recent next-gen title I worked on, and further developed to include a UI and animation control over the models.
2016. Update: I recreated this system in a GLSL over at ShaderToy
2017. Update: Now at 100 instructions, rather than 1000 in the 2016 version above. View on Shadertoy
Game Development / Procedural Systems
2014. An ongoing personal project created in Unity that generates dungeon like environments in 3D. The system grows from a central point and uses a variation on a Circle Packing algorithm to spread like cells in all directions. The idea is to populate the levels created as part of the development of a game akin to procedural Quake. The top three images are renders of the debug geometry. The bottom image from Unity.
Procedural 3D Geometry / UI Design
As the ship moves it leaves behind a section of cylindrical real-time generated geometry. Which the four probes surrounding it then navigate using similar steering systems. This is then used as the model in a 'Model View Controller' system in which the various properties of this model are then exposed and visualised on the view using a Unity Inversion of Control framework.
2015. As a personal project to get to grips with the new UI tools in Unity 5. I built this simulation and tied it to a futuristic interface with a number of graphs and meters for monitoring. On the right of the display the 'ship' at the front of the tube, uses a simple steering algorithm to navigate a 3D field of directional vectors generated with Perlin noise. This alters the course of the ship as it moves through the field selecting new destinations at pseudo-random intervals.
2015. A study of Voronoi Diagrams for use in a system for shattering the outer-layer of walls and windows in the Procedural City project above. This was all written in Processing and then exported to 3dsMax where I tweaked the models and rendered using V-Ray - The idea is then to port into C# for Unity, where it will actually be of some use in game.
Graphic Design - Steam Achievement Icons
2015. Achievement icons for VR racing game Radial-G were designed to reflect the high-speed, high-tech nature of the game.
Procedural 3D Geometry
2012. Procedural geometry created with Processing - Originally designed as source material for the Zero History cover for William GIbson - These were surplus to requirements after taking a completely 2D approach. The system used familiar techniques to the create 3D models in real-time based on a set of parameters. This system actually plotted lights and materials too, but the rendering was all done in V-Ray via 3dsMax.
Neal Stephenson Covers
2013. Idents, architectural models and fluorescent inks on Neal Stephenson's pair of post-cyberpunk classics for Penguin Books.
3D Game Concept
2013. Some concept renders for mobile game "Node" - 3dsMax and V-ray were used to create this array of fake LCD displays comprising the main game board.
Procedural Geometry / Evolutionary Art
2013. More procedural geometry in Processing brought to life with vRay. This time a port of a system I wrote in the late 90's for creating "Organic Art" with the POV-Ray ray-tracer. Originally called Flak, the system used parametric arrays of worm or fan-like structures affected by the characteristics of synthetic environments to create and cross-breed these alien like creatures.
Graphic Design / Creative Code
The Nature of Code
2013. Dan Shiffman's Nature of Code aims to teach an understanding the mathematical principles behind our physical world using Processing This incredible book covers many of the systems I use every day for the projects above. I was very happy to create the cover and the template styles that were used to generate the book. The flow-field background and typesetting for the cover were generated entirely with code (Illustrator scripts) based on one of the chapters in the book.
Earlier work from my 2012 website can be found here