Since she would never be permitted to reproduce a scanned photograph, what kind of traditional landscape could she create? This painting’s concept evolved from Whistler’s nocturnes.

The painting would have compositional elements of water, landfall, clouds, distant sky and a sun with reflections. Each element was mathematically created with a three-dimensional wire-mesh. A 3D graphics pipeline was written in Lisp, which allowed “transport” of each element (such as water) from object-space, through world-space, camera-space and display-space to eventually robot-space.

After the experience with the yellow painting, additional animation techniques were used to create each of these compositional elements. Lambert’s Law was used to calculate the lighting and reflections. Rear-facing and obstructed surfaces were removed.

The concept was to create a dark, mysterious, perhaps moody or melancholy painting. A light source from behind the viewer's left shoulder suggests the viewer is peering from the light into the dark. The overall color and lighting of the painting, camera perspective, aspect ratio and design of each element were carefully considered for this overall look.

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