I hope the new instruments will be up and running before too long, but these are the last three throws of paint I made, almost two years ago. In each of them there is a similar amount of paint and the paint catapult is left on the same settings. You can see how repeatable the aim is, and although the character of the flight of paint varies it is also more consistent than the earlier throws. In switching from projecting light to paint one of the reasons was to make the shadow (splatter) a less controlled event but also I anticipated that my catapult would not be as accurate and repeatable as it turned out. During my work with the sequence of paint-throwing instruments I learnt more about how to control them, so I have been building a more sophisticated version that I hope will lose control a bit more for the next series, although inevitably the process will repeat itself.
A group of quite old pictures of Instrument Six in stereo. THere is quite a lot going on so the 3D view clarifies them. The top view is of the instrument in photographic mode with a single bulb as a light source while the lower two are of the instrument in real-time mode where you can see the floating shadow directly. For those new to the blog, Instrument Six is able to separate an objects shadow from the surface on which it should land and get the shadow to float in mid air. It is explained in earlier posts, for instance here and here.
Use the normal process for resolving the stereo images.
A selection of throws and the set up for the first test throws of paint by two versions of Instrument Four. Immediately after this test I explored high-speed flash photography to capture the flying paint. Although similar, there are no parts carried over between these instruments and Instrument Five. The pot in the foreground of the final picture is white latex house paint. See also the splatter of the paint on the red background that flies beyond the picture plane.
Three views of Instrument Six in action, the two top views construct paradoxical shadows that float in the air, adjacent to the surface you would expect them to land on , in real time. The bottom image is of the instrument in photographic mode where the relative parallax between shadow projections can be adjusted for pairs of stereoscopic photographs, and it uses a single lightbulb instead of a pair of candles.
Some Views of Instrument Five.
A few more recent shots of Instrument Seven, showing the back of the folding picture plane (above) and a couple more views.
A picture of Instrument Seven with a drawing, after receiving paint thrown by another instrument. The paper follows the folds of the picture plane support (behind) which has tabs to match those on the paper and they are held together with bulldog clips. You can see how little of the main throw of paint lands on the drawing (unlike Instrument Five) and instead it catches just the splatter of paint that collides with the drawing pieces.