Author: peatmoss

peatmoss-Wallpaper

 

EDITED 2/22/2o (so close): 

With Golan’s help I made a far prettier version utilizing a handful of for loops!

Code: https://editor.p5js.org/noonmarkart/sketches/VjdZmNBJq

 

Code: https://editor.p5js.org/noonmarkart/sketches/ITlYulo05

Landscape Wallpaper Exports:

My process was essentially hours full of low-grade panic, and hrm’ing about trying to make the for loop at the bottom look anything like trees. Once I got there to be SHAPES! (hallelujah), I worked on getting the HSB palette of the piece to be something pretty and pleasing, since I know the shapes are…odd. With the help of Connie I worked on randomizing the hue and brightness of the for loop trees at the bottom, and I set the ‘sun’, ‘moon’, or ever watching Sky Orb (its up to interpretation), to be a random position each time. In the future I’d like to figure out with more confidence how to do a function to make the trees so it can be more thoroughly randomized, and have more varying parts!

My initial thought for this project was to have there be an additive multiply blendMode on the piece, making it so that as the cloud1 and cloud2 variable circles blotted out over the background, they’d make things go darker like dusk was falling. This was not a good idea in the end, but I did record how it looked: First Attempt Landscape

(The download is nothing nefarious, just the video that I can’t seem to embed. Odd!)

Concept Sketch:

peatmoss-Readings03

From Tyler Hobbs, I found it really interesting that color/image mapping can be used to create a secondary palette for your generated artwork. I’ve used gradient maps before in my raster/illustrated work and I personally love them, so I look forward to attempting to do something similar with generative work. The example he showed was beautiful, and he made a great note of adjusting the secondary reference images colors to make them more stark and obvious when translated over the generative piece!

 

(from https://tylerxhobbs.com/essays/2021/color-arrangement-in-generative-art)

peatmoss-Exercises03

(: Nested Iteration :

Code: https://editor.p5js.org/noonmarkart/sketches/dHsan-oGY

Triaaangle-

Code: https://editor.p5js.org/noonmarkart/sketches/FzHRdaQre

Seven Circles-

Code: https://editor.p5js.org/noonmarkart/sketches/zMn6XOkdj

Fishstick Sick Flips Simulator 2021-

Code: https://editor.p5js.org/noonmarkart/sketches/WioXrasjO

Schotter Composition-

 

Code: https://editor.p5js.org/noonmarkart/sketches/6NS9cRd0W

 

 

 

peatmoss-Valentine

Link: https://editor.p5js.org/noonmarkart/sketches/pvYcMIt78
Process:

For the Valentine’s heart I first tried making it out of bezierVertices, going for a smooth finish. This proved problematic as I couldn’t figure out a way to get it to unify without some gnarly errors (like chunky lines dividing the heart in halfsies). Given this, I decided to put my all into designing a perfectly lovely and equally appealing (in my opinion) polygonal heart!

Attempt no.2 (well, 3. Second attempt was accidentally erased.)

After making this base, I looked up how to put in randomized text in the reference albums and implemented that in my code, as well as copy-pasted and adjusted my base heart to be different sizes/locations/colors. I referenced a lot of sweet heart candies for these.

After this I replaced the template section of code in the offered generator with my valentine’s code, and made these!

Examples of my Valentine Generator’s Output:

In regards to the Multitudes of Oats Problem, I think I partially got away from it. I’ve run into an issue with this where I don’t think I have enough words (some frames would repeat multiple times) , but this is all I could think of without just putting in random things that were irrelevant to the project. The combinations of the hearts’ locations ended up as some interesting compositions which I enjoy greatly! All in all, I think there could be more varied combinations with the words, but I’m happy with this for my first foray into randomization. I think I can push it further.

peatmoss-BasicShapes

Composition: https://editor.p5js.org/noonmarkart/present/UoFUxrTOC

https://editor.p5js.org/noonmarkart/sketches/UoFUxrTOC

Heart: https://editor.p5js.org/noonmarkart/present/HIhzDGJI6

https://editor.p5js.org/noonmarkart/sketches/HIhzDGJI6

Initials: https://editor.p5js.org/noonmarkart/present/WXJxG3pX2

https://editor.p5js.org/noonmarkart/sketches/WXJxG3pX2

All in One: https://editor.p5js.org/noonmarkart/present/gsz2w1v7G

https://editor.p5js.org/noonmarkart/sketches/gsz2w1v7G

peatmoss-Reading02

So, regarding the 10,000 Bowls of Oatmeal Problem.

As I understand it, the problem that Kate Compton outlines here is one I actually find a lot when listening to contemporary jazz music. There are some wonderfully brilliant technical players, all of whom can move their fingers in ways that blow my fucking mind. That said, so many of them focus on chipping away at each note and creating incredible variations with dozens of notes, rhythms and patterns that soon it becomes incomprehensible to the listener. Impressive and groundbreaking, but unclear. So in the Oatmeal Issue, we have something similar: hundreds of groundbreaking permutations on a generative system that are all certifiably unique, but at a certain point become functionally the same and unclear. The jazz example lies more on the philosophy of the musician, but it’s what came to mind first for me. Another thing I think of is the new breed of open world adventure games that are pushing the boundaries of how many in-game miles they can make their worlds, without filling it with everything. Technically expansive, yet functionally indistinguishable. An artistic way to overcome this is to invest in populating or iterating on those permutations or that empty space by hand after its finished. Technically speaking, Compton mentioned adding constraints to create enough variability that ‘perceptual uniqueness’ and ‘perceptual differentiation’ are achievable.

peatmoss-LookingOutwards02

“Circle to Square” by Zach Lieberman.

I was scrolling through his profile, admiring the works but not necessarily feeling drawn to any, before I saw this; it draws parallels in my mind to “The Rose” by Jay DeFeo, which similarly was a merger of geometric patterns surrounding a central space. “The Rose” is one of my favorite paintings ever made because of its sculptural qualities.

“The Rose” by Jay DeFeo