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Morphing by Joseph Choma

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‘For the artist communication with nature remains the most essential condition. The artist is human, himself nature; part of nature within natural space.’

(Paul Klee, 1944)

If you imagine a particular shape as a species with a specific DNA, think of the previous two chapters as manipulating or mutating a shape’s DNA. This chapter is akin to geometric breeding. Here, it is the shapes that combine with one another. Instead of simply using sine and cosine as inputs, the shapes that are defined by sine and cosine become the inputs. Calculating with pieces larger than sine and cosine gives a different type of geometric deformation to calculating with ...

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