Stacks #21

nclslbrn.eth

Kallax is an on-chain series, a generative work created with code where each edition has been carefully selected. It explores the layering of different blocks on a modular grid.

Kallax #24

The grid, from my point of view, is an archetype of Minimal Art, this works tends to bring disruption in this rectilinear/straight design.

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This script use 18 different palettes to create a grid in its initial stage. Then it uses random positions and Perlin noise to copy and paste parts of the grid over the existing one. In this process, it could paste sample with different modes (source-over, screen, overlay, xor & difference) and different scale (downscaling the picked sample at different sizes).Each time the program repeats the operation, it reuses the changes it has previously made.

Degenerative grid #7

This work is inspired by the work "Pi et plis" (Pi and folds) by François Morellet.

The program starts by defining a main grid, it chooses between a regular grid (where each cell has the same dimensions) and a modular grid (iconic element of Piet Mondrian's painting and of the De Stijl group).

The program continues by cutting cells from the grid. It determines random lines, which, if they intersect the sides of the cells, will cut them. With each cut, it fills the resulting shapes with another grid. These shapes are added with different blending modes (xor, multiply, difference,  screen and multiply) and four different colors.

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Features on live mode
Key 1: set size to 1000x1000px (default)
Key 2: set size to 2000x2000px
Key 3: set size to 3000x3000px
Key 4: set size to 4000x4000px
Key D: download a PNG image of sketch (at the current size)
Key A: play a short animation (cut by cut)



Nested grids #17

This work is an attempt to create arbitrary colors and shapes from three triangles that emit particles (of cyan, magenta and yellow colors). During their short lives, these particles will be pushed to the sides of the grid cells.


Here the palette is not used to fill in shapes, the palette is used to create shapes.

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Keyboard controls

[d] Download a capture of the sketch at the current size (the default size is 800px).

[2][3][4] change the scale and redraw the drawing to a size of 1600px, 2400px or 3200px in width and height respectively (point positions may vary a bit).

[a] redraw the sketch point by point, when the sketch is done, it will restart automatically.


Url parameters

You can change scale and mode by passing parameters in the URL, scale=1|2|3 will change the resolution and isAnimated=1 will launch the sketch in the animation mode (You have to prefix these parameters with ? or & if you use both scale and isAnimated).

The triangle balance #10

This work is a continuation of 'The triangle balance', it uses an evolution of this project that I decided to discard. 

The program is initialized by determining a grid and three colors located at 120 degrees from each other on a color wheel.


For each cell, one of these three colors and a direction (0, 90, 180, 270°) will determine the diffusion of particles. To these conditions will be added two constraints, a texture (Perlin noise) and a magnetism of the sides of the cells of the grid that will slow down and deflect the particles.

The purpose of this project is to create an explosion of colors partially controlled, these colors will multiply between them between each cell to create new variations. The grid that seals the composition reveals the contours of the cells from which the drops of paint are emitted. This makes it possible to highlight the determinism of the protocol.


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Keyboard controls

[d] Download a capture of the sketch at the current size (the default size is 1000px).

[2][3][4] change the scale and redraw the drawing to a size of 2000px, 3000px or 4000px in width and height respectively (point positions may vary a bit).

[a] redraw the sketch point by point.


Url parameters

You can change scale and mode by passing parameters in the URL, scale=1|2|3|4 will change the resolution and isAnimated=1 will launch the sketch in the animation mode (You have to prefix these parameters with ? or & if you use both scale and isAnimated).

Nearly controlled diffusion #24

An experiment with walkers and particles. The sketch starts by creating lines according to the path taken by the walkers (8 possible directions), then particles are emitted along these lines. The program has two possibilities, two modes to diffuse the particles, flame and splash, they determine how the particles will be affected by a Perlin noise.

The separation of this program in two times corresponds to two gestures which are opposed since the first one consists in leaning on a grid to order the lines whereas the second one consists in scrambling this order with convolutions.

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Controls

[d] Download a capture of the sketch at the current size (the default size is 1000px).

[2][3][4] change the scale and redraw the drawing to a size of 2000px, 3000px or 4000px in width and height respectively.


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Nicolas Lebrun

Tes désirs sont désordre #14

Kallax #98

Kallax is a fully on-chain animated collection made by Nicolas Lebrun featuring 66 unique color palettes. The collection explores the insertion of volumes on a grid. Each cell can be occupied by different shapes; some of them, when extruded, can be stacked by recursion. The result of each iteration of the program produces more or less occupied spaces, with higher or lower stacks. The purpose is to recreate these stacks to resemble aspects about each human being in their day to day life. This collection is curated by Arteology and serves as a membership in their ecosystem.

Kallax #247

Kallax

Degenerative grid #8

Degenerative grid

Nested grids #28

Nested grids

The triangle balance #9

The triangle balance

Nearly controlled diffusion #10

Nearly controlled diffusion

Tes désirs sont désordre #25

Tes désirs sont désordre

This project was born from an experiment that consists in arranging shapes in a random way by drawing the places where they overlap. To describe this superposition, the sides of the shapes are progressively reduced and if a part of the outline is inscribed in the other shape then it is drawn. 

In fine, a shape needs the other shapes to be described.
I see in this relationship a metaphor of our own existence as human beings where each one defines itself in relation to the others.


Controls in live mode
You can access a controls window by clicking on the sketch.
You can also control the sketch with the keyboard:
[r] restarts the animation.
[d] allows to download a PNG.
[1][2][3][4] changes the scale of the canvas and the PNG.

Note
This work is part of the Hybrid series, to learn more open the link available in the control window.

Artist
Nicolas Lebrun | Twitter: @nclslbrn

Entangled shapes #9

Entangled shapes #23

Entangled shapes

A study of how shapes could respond to each other.


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Algorithm

Inspired by a serie of François Morellet, Pi et plis, 2008 (Pi and folds), the initial action is to divide a plan by random lines. This cutting process works by detecting collisions between the lines. Having noticed that sometimes the cuts are not homogeneous and create very stretched shapes, I added an optional step of pre-cutting the base rectangle from a grid. 

The second main step is to shrink each polygon obtained in the first step. We find this way of entangling shapes in many works of Vera Molnár, who skillfully used this compositional process.
Since these shapes are quite basic and mainly concave, we can use the interior angle to move the corner point inside, to do this we calculate each angle of the vertex of the polygon (from the previous, current and next vertex clockwise), with this angle we can move the point along the bisector of the angle. But a limit must be set otherwise the point will meet the opposite segment, this limit is the distance between the point and the centroid of the polygon, beyond a certain threshold the program stops the operation.

The last operation consists in giving a relief, a texture to its shapes, for that the program is going to move points on both sides of the board by slightly curving their trajectory with a Perlin noise, these bands can be horizontal, vertical or diagonal (two possible choices, go down to the right or to the left). 

This step might seem superfluous but it brings a light vibration to this arbitrary and conceptual composition, it comes to support the uncertain character of this arrangement since what is given to see here is the destruction of a rectangle which for me is an archetypal form of the painting. 


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Features

Pre-cut from a grid: indicates whether the initial composition will be split (>1) or not (1), the values are between 1 and 3 for the columns and 1 and 4 for the rows.

Cuts: the number of random lines that will divide the composition (between 6 and 13)

Initial margin between contours: the initial space between the contours of the same shape, between 14 and 22. Each time the shape is shrunk, this value is multiplied by 0.92. 

Fill slice: three ways to draw polygons
- minimal / 0.2% probability / first contour of each polygon
- solid / 49.9% chance / first and last contour + corner lines 
- complete / 49.9% likelihood / every contour of the shrinking process + corner lines

Stripe margin: the distance between doodled (colored) lines, between 4 and 8. 

Stripe color: the color of the doodled lines (with the Stabilo© reference), 14 possibles choices


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Capture and plotter drawing 

You can download a PNG or SVG from the live mode, by clicking on the drawing a window will open where you can change the size of the drawing, download a bitmap or vector image. You are free to reproduce the picture, if you decide to reproduce it with a plotter, please note that the colors used are Stabilo© 88 (Fineliners 0.4)


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Hybrid series

Slice and shrink is part of Hybrid Series, To learn more, open the link in the live mode option window.




Slice and shrink #9

Slice and shrink #14

Slice and shrink

This project is an experiment with a chaotic attractor, radial symmetry and some Perlin noise.

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Features

Parts: the number of symmetrical parts (4|6|8|10)

Palette: the palette chosen to draw the sketch

Attractors incrementation: a number between 0.0013 and 0.003 which will increment the parameters (a, b, c & d) of an attractor (Clifford A. Pickover).

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Resolutions & controls

By default the work is drawn on a canvas of 1280 x 1280 pixels but you can double or triple this resolution, for this in live mode add to the URL &scale= with the desired factor.

You can also download an image (PNG) by pressing [d] key.


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This artwork celebrate the first anniversary of FxHash, 50% of the proceeds will go to the Processing Foundation.


Created with typescript and simplex-noise (npm package). 

Artwork by Nicolas Lebrun / @nclslbn / https://nicolas-lebrun.fr/contact/


Lost in the attraction / abstraction #27

Lost in the attraction / abstraction #34

Lost in the attraction / abstraction

My contribution to #genuary32nd.

This work is based on a suprematist composition (#genuary day 11) in which each element (rectangle) is extruded to be placed on an isometric grid. Some faces have lines running through them. Usually, moiré patterns are produced by parallel lines but I couldn't resist adding some randomness.

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Feature
Box: number of boxes in the composition (between 6 and 24)
Format: portrait (960x1280) or square (1080x1080)
Composition Angle: an overall angle that is used to rotate the composition/ set of cubes, each cube also has its own rotation.


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Option in live mode

Press [d] key to export the canvas as PNG.

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Nicolas Lebrun @nclslbrn nicolas-lebrun.fr


More random Moiré #9

More random Moiré #17

More random Moiré

This project, like most of my work, is about order and disorder.

The grid, the archetype of order, is used to arrange a set of rectangles. These rectangles are then extruded to become blocks/boxes. Here the perspective is created by means of a formula of projection of points on an isometric plane. Depth of field only exists because a sequence of instructions erases the background as the composition is built.

Order is also present in the succession of each of these steps.
And disorder? It is very subtle, insidious, but nevertheless it exists in certain details within these blocks. These are details that do not follow the general shape of the box, residual, forgotten parts of blocks that have been erased.


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NOTE ON THE TITLE

The title Playtime refers to the film (1967) by Jacques Tati, the cubes generated here evoke the settings of the film (the exteriors of this modern city and certain interior settings such as the open spaces). The analogy is made in the perception of these spaces, thanks to the use of the depth of field of the glass and the reflections.

A link is also made through the film's few dialogues. The characters do not really understand each other, they speak several languages (French, English, German and some are not subtitled). The misunderstanding arose during the writing of this programme in the form of a bug, an error in the way of erasing certain parts of the composition in the background. Once the error was corrected, the composition offered little interest because the volumes described were perfectly solid, eliminating any perception of depth. This misunderstanding of the way my programme works gave place to a singular perception of space and depth.


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FEATURES & OPTIONS

Grid size: indicates the number of rows the iso grid will contain (between 14 and 22)

Zoom:  the magnification factor of the composition (between 0.7 and 1.74).

Block height: between 0.15 and 0.50, determines the general height of the blocks and the vertical position of the grid  

Height variation: how the height of each block is decided, three chances out of five, to have a totally random arrangement otherwise the height decreases from left to right or from right to left.

Iso angle: between 1.85 and 2.1, the smaller this parameter is, the more the grid is seen in bird's eye view (projection = [x-y, (x+y) / {angle}]).

Crop mode: This parameter depends on the zoom feature, from a certain threshold (>1.11), the blocks will be cut cleanly according to the margins (hard), otherwise they will simply be deleted (soft) if they go out of the frame (in whole or in part).

Palette: The three colours used respectively for the background, the texture (not included in the SVG) and the lines. 90% chance of getting a black line on a white background.

Format: portrait (A3) or square, 50% chance of getting one or the other.

Options & exports available in live mode (fxhash.xyz) or at IPFS artifact url (objkt.com) by clicking on the canvas, a window will open allowing you to export the drawing (PNG and SVG) as well as different formats.


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RESOURCE & LICENSE

Developed in Typescript (with 2D Canvas) with the Greiner-Hormann polygon clipping package (NPM: greiner-hormann), Playtime is a plottable NFT, it is part of the Hybrid Series (for more information click on the canvas on live mode).
This project is licensed under the MIT license.


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Nicolas Lebrun / @nclslbrn / nicolas-lebrun.fr

Playtime #51

Playtime #21

Playtime

Generated with JS using Clifford attractor, Perlin Noise and a radial symmetry.

Minted for #HENreunion

Artist: Nicolas Lebrun | Twitter: @nclslbrn

Convergence

My contribution for #Objkt4Objkt 2024

1080x1080px SVG
Coded with Typescript and @thi.ng/umbrella

Vertigo

Hic et Nunc

This project is based on a system of thresholds and minimum distances to create shapes. The sketch is populated with random points at its start, including completely random points and others that form the four corners of the cells of one or more (modular) grids.

Once all these points are placed, the program selects the closest ones to each other in groups of 3 to 5, based on a minimum distance. These polygons will later be filled with hatching.

Once the program has determined a certain number of groups/polygons, it will use a slightly higher threshold than the first one to connect points between the different polygons (lighter color).

A third threshold comes into play, allowing the selection of points closer to the edges of the composition. The program will draw lines from these points to connect them to the boundaries of the composition.

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PNG & SVG

By clicking in the composition (in live mode), two buttons should be displayed to obtain a PNG or SVG. You can also use the [d] key for PNG and the [p] key for SVG.

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Plotting suspended

You can plot your output with your own plotter. The SVG is optimized for Inkscape, and contains two layers for each of the colors in the composition. Because of the large number of lines Suspended polygons can contain, I recommend that you set the "plot optimization" option to "Full; Also allow path reversal", otherwise you risk damaging the paper.

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Created with typescript
Nicolas Lebrun @nclslbrn nicolas-lebrun.fr

Suspended polygons #35

Suspended polygons #40

Suspended polygons

Alteration of Stacks #2 (pixel sorting)

Made with Processing

1000 x 1000px

Stacks unstacked #2

Experimentation (image manipulation/pixel sorting) on an existing collection (Stacks).

Alteration of Stacks #9 (pixel sorting)

Made with Processing

2560 × 2560 px


Stacks unstacked #9

Stacks unstacked


This project is an experiment with Clifford's attractors.

The title refers to the way in which the drawing reveals itself, but it can also be seen as an ecosystem, in which creatures can emerge between the different sprays of water.


To download a JPG, click on the canvas.


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Features

- palette: 10 palettes taken from art-historical paintings

- attractor constant: 10 constants (4 decimal numbers) that configure the attractors

- domain: a dimension that controls the drawing area

- scale: a number that defines the scale of the Perlin noise (texture)

- format: two choices of format, portrait (1920x2400) or square (2140x2140)

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Made with p5js 
Nicolas Lebrun @nclslbrn/nicolas-lebrun.fr 


Chaotic cascade #69

Chaotic cascade #82

Chaotic cascade

Aqueduct is part of the inaugural 'Outliers' group show curated by Atelier (ateliergen.art).

To create these compositions, the program creates random curves (based on Perlin noise).
It traverses these curves like a topology, tracing the curves where they overlap to form sequences and patterns of three types:
- successive vertical lines
- solid shapes (colored)
- two solid shapes that encase the curves from top to bottom (colored)


Editions are divided into two main types of composition: those in which the colors are aligned, and those in which the curves are aligned. These two types of compositions will determine how the drawing is animated.

Press the space key to play or pause the animation.
By clicking on the composition (in live mode), you will access a menu that allows you to playback and save the animation as a video, save still images as a PNG or an SVG (the shapes are grouped by color in different groups). With the animation you can obtain different images and vectors (each image/frame of the sequence can be exported).

These curves are mixed with other vibrations, Aqueduct contains some thirty palettes borrowed from classical painting and contemporary art. The aim is not to replace the originals with editions of the program, but to change the atmosphere and mood of the composition. It's also a way for me to avoid making aesthetic choices and to adopt an outside point of view on this creation.


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Features

Composition (50/50)
- Horizontal alignment of sequences with curve evolution
- Random sequences (no alignment), a single curve is repeated vertically

Row (80/20)
- between 7 and 12
- 2

Noise scale (allows curves with more or less detail/change)
- between 0.009 and 0.03 (if number of rows > 2)
- between 0.001 and 0.003 (if 2 rows)

Spacing between vertical rows (50/50)
- fixed (chosen randomly once) 6px
- random (chosen for each vertical line section) between 4 and 10px

Number of images
- number of frames in animation

Palette (28 possible palettes)
- Le Corbusier
- Pieter Bruegel the Elder
- Salvador Dalí
- Sonia Delaunay
- Theo van Doesburg
- Albrecht Dürer
- Max Ernst
- Artemisia Gentileschi
- Alberto Giacometti
- Nan Goldin
- David Hockney
- Edward Hopper
- Paul Klee
- Hilma af Klint
- Sol Lewitt
- René Magritte
- Kazimir Malevich
- Agnes Martin
- Barnett Newman
- Georgia O’Keeffe
- Pablo Picasso
- Jackson Pollock
- Bridget Riley
- Jenny Saville
- Cindy Sherman
- Joseph Mallord William Turner
- Victor Vasarely
- Johannes Vermeer


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Made by Nicolas Lebrun (@nclslbrn/nicolas-lebrun.fr) using Simplex-noise and Alea (both packages under MIT License)

Aqueduct #47

Aqueduct #48

Aqueduct

Barrage (/bəˈrɑʒ/ french for dam) is a project that proposes a narrative by invoking a game of radical composition. The program traverses a texture, searching for gaps in depth. When it identifies deep areas, it will draw lines, and when they are high, it will write text. The texture will then define the width and height of the letters and the direction of the lines. 

Randomly for each edition, the text will be written vertically or horizontally, but it will always be repeated, becoming a kind of incantation, a statement that is repeated endlessly while awaiting the intervention of a higher power, but also like an instruction in code that will be executed a certain number of times or until a condition is met.

Textures and texts hybridize, the text is no longer flat but in motion, altered by a Perlin noise that renders it illegible in places and, at other times, enlarged, dominating the rest of the composition. Like an elocution, the text now has a rhythm, its acceleration and its hollows: it comes alive.

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Click on the edition to generate an image (PNG) or a vector (SVG).

You are free to plot your edition by your own and if you want a signed edition you can use the great feature "reedemable" of fxhash to order a small (A4) or a large (A3) plotter drawing of your edition.

Project setup with thi-ng/tpl-umbrella-fxhash
Using thi.ng/umbrella, nclslbrn/plotter-writer and simplex-noise packages.

2024 Nicolas Lebrun

nclslbrn

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