I use the z-axis (actually just a value between 0 and 100) to decide which layer each element should appear on.This z-value isn’t for creating 3D depth—it’s simply a sorting tool. It helps me determine: should this stroke appear above or below? That’s all.This structure introduces a sense of layering and depth, but without the forced logic of “near is big, far is small.”It doesn’t imitate real-world perspective. Instead, it preserves an internal order within the image.
Parallel Projection vs. Single-Point Perspective: I Choose a Freer Gaze
In this world, space is no longer determined by distance or scale, but constructed through layered position, broken rhythm, and temporal division.Each plant is a visual unit—independent from any singular viewpoint or focal hierarchy.They’re arranged by position, like stage scenery appearing in sequence.The higher a plant sits on the canvas, the further back it appears in space.This isn’t a simulation of volume—it’s a reconstruction of spatial logic.
I’m not drawing a plant’s space—I’m composing a rhythm for seeing.
This entire layer system isn’t meant to enhance realism, but to allow the image to be composed—to be viewed with a sense of rhythm.The z-axis here doesn’t represent physical depth, but visual logic.I’m not shifting objects closer or farther; I’m giving them entry points and timing—like actors on a stage, each with their own position and cue.
In the end, this is a kind of scattered perspective written in code.You’re not standing outside the image looking in. You’re moving through its structure—feeling the rise and fall, the rhythm of growth.It’s not a window. It’s a scroll.
A picture to be read, to be roamed.The algorithm isn’t designed to generate realistic plants—It’s designed to construct a fragmented, sliced spatial structure, and to reassemble the world through layered composition.
第五篇｜切片化佈局與沒有消失點的世界
我用 z 軸（其實只是 0 到 100 的範圍）來簡單決定它們該出現在哪個圖層上。這個 z 值不是為了創造3D，而是一種排序工具：它只是幫我判斷「這筆應該在上層？還是底層？」，就這樣而已。
這樣的設計，讓整個畫面看起來有前後關係，但不會有「近大遠小」的強迫感。它不模仿現實世界的透視法，而是維持一種「畫面內部的秩序」。
平行投影 vs 單點透視：我選擇讓視線自由
這裡的空間，不再由遠近或比例來決定，而是透過位置的疊壓、節奏的斷裂、時間的分層來構成。每一株植物都是一個視覺單元，不從屬於單一視角，也不服從焦點。它們被依位置編排，如舞台佈景般依序出現。畫面越高的植物，視覺上就越後。這不是立體的模擬，而是空間秩序的重組。
我不是在畫植物的空間，而是在編排一套觀看的節奏
這整套圖層系統，其實不是為了增加真實感，而是為了讓整張畫能被「編排」，能夠被節奏性地觀看。Z 軸在這裡不是物理距離，而是視覺邏輯。我不是讓物體遠近變化，而是讓它們有秩序地出場。這就像一場劇，一筆一筆都有自己的站位與時機。
總結來說，這是一種用程式語言寫出來的「散點透視」。你不是站在畫面外，而是走進這個圖層結構中，看見植物的起伏與韻律。它不是一扇窗戶，而是一卷畫。可以被閱讀的、可以被遊走的畫。
演算法不是為了生成真實的植物，
而是為了建構一種被切片、被斷裂的空間結構，再以圖層堆疊重組出一個新的世界。