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Clique art
  • Divide every shape on the canvas in two, either vertically, horizontally, or not at all. Repeat for 7 iterations. Vertical Horizontal
  • Using the marching squares and open simplex noise algorithms, draw a contour line that follows the noise algorithm. For each contour segement, draw 4 lines ranging from a length of 10, to 70 units. The widest line should appear darker, and shorter lines should appear more vibrant. All lines should use the same palette of greens. Unripe bananas
  • Tree
  • Make a composition that is static, stable and calm. Use only horizontals and verticals. Statique
  • Draw 12 points randomly, but make sure they are equally distributed on the canvas. Using a space colonization algorithm, draw a slightly shaky line from the bottom right corner and reach each point. You can branch from the main stem. When you reach a point, either draw a fruit or a leaf. Fruits are drawn using circles. Leaves are drawn using half of the inner loop of a Trisectrix of Maclaurin curve. The point of the loop should be aligned with the branch that reached the point. When the algorithm fails to produce a tree longer than 30 segments, draw a yellow circle in the middle of the canvas. Space Colonization
  • Draw 3 vertical lines on top of each other. Each line is drawn from the top to the bottom. As the line is drawn, it becomes more turbulent. When you are done drawing the first 3 lines, move to the right a bit and generate 100 more groups of lines. Rideau
  • Draw a random curve on a square canvas. For 40 iterations, draw an offset curve to the left, then to the right of the original curve. Rake strokes
  • For 20 iterations, draw alternating black and white wtripes. On each back and white pair, draw one or two rectangles so that it seems like every even stripe protrudes into the previous stripe. Piano
  • Draw a square or a rectangle along the bottom edge of the canvas. Draw another, but if it intersects with another square, place it on top of the intersecting square. Repeat for 404 iterations. Packing
  • Using the letter M, draw a grid of 4 rows and 4 columns. Place the letter M in each cell. Crop the letter M using a rectangle smaller than the size of its cell. Wolfgang Weingart's love for the letter M inspired many compositions. Letting go of control in these compositions creates an interesting prompt for generative compositions. M Project
  • Draw the letter M along the bottom edge of the canvas. Draw another, but if it intersects with another letter M, place it on top of the intersecting letter M. Occasionally, the letter may be rotated. Repeat for 20 iterations. Combines M Project and Packing. M Packing
  • Draw 180 circles. Start with a dot. Draw each circle a little bit larger than the previous one. When you are near the 90th circle, start drawing the circles using smooth wavy lines. Loop phase 3
  • Draw 180 circles. Start with very turbulent circles. Draw each circle a little bit larger than the previous one. Slowly decrease the turbulence of the circles when you are near the 90th circle, so the the circles are almost perfect. Continue drawing smooth circles, but draw them using smooth wavy lines. Loop phase 2
  • Draw 180 circles. Start with very turbulent circles. Draw each circle a little bit larger than the previous one. Slowly decrease the turbulence of the circles when you are near the 90th circle, so the the circles are almost perfect. Resume drawing turbulent circles as you near the 180th circle. Loop phase 1
  • Draw either the inner loop of a Folium of Descartes, or half of the inner loop of a Trisectrix of Maclaurin. Orient the shape so that the pointy bit is a the center and give it a random rotation. Leaf
  • Draw 30 lines in 30 iterations. Each iteration should advance 30 units within a 30 degree directional cone. If possible, each line should avoid crossing over itself. Each line should also avoid going outside of the canvas when possible. Untitled
  • Start with one large rectangle. Roughly divide it in two halves, or not at all. For each resulting rectangles, repeat this instruction for 7 iterations. The smaller the rectangle, the higher the chances you decide not to divide it in half. Halves
  • Draw 2 groups of squares arranged in a 2 by 4 grid. Squares should orient their gradients towards the center of the image, just like a Fresnel lens. This generative work is inspired by Judy Chicago. In her Fresno Fans series, she explores colour through minimal geometric shapes. Fresnel
  • Make a composition that is dynamique, in movement, leading the eye in different directions. The composition is successful if the eye is led from one shape to another. A dynamic composition requires intention. Can generative works be intentional? Dynamique
  • Draw 180 blobs. Every time you draw a blob, draw it a little less blobby. By the time you reach the 180th blob, you should be drawing perfect circles. Phase dunes
  • Using a noise grid of 25 rows and 25 columns, draw 625 rectangles. Give each rectangle a a rotation that follows the noise grid. The color of each rectangle should vary minimally, giveing eahc of them essentially the same color. Given enough time, the color should start to change noticeably. Come back in a year and see if this works. Come back later
  • Draw 60 segments forming a regular polygon. In other words: draw the points for a Hexacontagon. Additionally, draw a few random points within the bottom right of the shape. For each polygon points, draw 1000 lines of varying shades of colour between any random two points. Draw another 500 lines between any polygon point and any random point within the shape. Finally, draw 500 three point polylines between one random polygon point, one random inside point, and another random polygon point. Circle
  • For a given width, fill the space with rectangles until roughly all the space available is covered. Each rectangle shoud contain a vertical or horizontal striped pattern. The stripes should alternate between a more or less saturated color and a neutral colour. The output should be of a generative piece that blurs its own boudaries. Sean Scully's Backs and Fronts changed the course of history in the earl 1980s when it decided to break through the rectangular limits of the canvas. Backs and Fronts
  • Either divide every shape on the canvas in two halves, or not. Repeat for 7 iterations. Alpinisme
  • When staring at the center rectangle, all three colours should now appear as two colours. Per the experiment proposed by Joseph Albers, we can see that we are not achiving the result of the middle colour appearing as two. Generating this effect is probably not possible with a simple program like this one, but we can appreciate the geometry and the blending of the two colours. XV-2 ish
  • When evaluating the lightness of two colours, an efficient technique is to use the persistent vision effect. Just like joseph albers explains it, to find the darker colour within a selection of two colours, focus longer on the covering corner of the upper paper, and then quickly remove this upper sheet. If the area in the middlenow appears lighter than the lower sheet, then the upper paper is the darker — and vice versa. A - B
  • Draw 80 triangles. All triangle must have two points on the same vertical axis, touching both the top and bottom of the canvas. The third point must point towards the right and be chosen at random. All triangle have the same width. 800x80
Generative art made by Philippe Caron