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Glyph patterns

I love petroglyphs.  Especially the ones that are clearly "about" something, though what that is remains oblique to us.

I'm curious what would happen if the Great Basin Curvillinear Abstract style came "alive" through generative means.

LATER:

Just finished section 2.  I think read the Wikipedia articles on Fluid Interfaces and Method Chaining.

Next we get to DRAW!

LATER:

Having spent a long time with section 3, I've now generated this (and infinite other color-variations):

This class is awesome! Thanks Josh, for the inspiration.  Your Mongo image, by the way, is a Tibetan Buddhist "double dorje," or thunder-bolt scepter, a common ritual implement in that religion.

LATER:

With the HImage section, I tweaked the code and threw this together.  FUN!

With my more complex petroglyph images, though the result got too messy.  Here's an image where they're randomly placed (note: I constrained the random placements to be anywhere inside 100 from the edge of the space).

To avoid the visually confusing overlap of partly unfilled images, I instead coded a series of if-else statements so that each d1, d2, etc would be given a set location at the center and four corners. (I sent this image to my dad for his birthday):

I'm curious if you have a preference between these last two images? Random locations (and 12 instances), or fixed locations for just 5 instances?

More petroglyphs. These use a palette pulled from a photo of the Mojave sky at dusk.

I thought an old drawing of a Bwa serpent head mask might work. Grid layout allowed me to see all the color variations easily.  Rotating each asset allowed more to fit without overlapping. This palette is from an Oregon coast photo.

The same masks, randomly placed/rotated/sized.

I found I like the random effect of doing an image trace on a drawing, then removing the outlines so only the fill shapes remain. These are groups of 5 Chinese bats.

Drawing is of a sycamore seedpod.  I was experimenting here with different methods of generating palettes. I found pulling colors from photos by hand resulted in a brighter palette, while doing it with a tool results in a subltler harmony. Here, I combined the second with the cranberry accent I pulled by hand in the firts.

These letter forms are from the ancient Tibetan kingdom of Zhang Zhung. The big one is om. The others are ram, yam, kham and srum. You can get the font from the BabelStone blog, an excellent site if you like obscure alphabets.

This is a screen shot of an iPhoto album. I was playing with a new palette and seeing how it looked with all the different assets I've created so far.

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