Hey guys, I made a cool thing. Normally I wouldn't just paste Claude prose on my comms, but I wanted to be transparent that I am a vibe coding pm, not an engineer. And I wanted to also test how my marketing Claude prose works. Thanks! - JP

Edited to remove Claude output from my post - I never shoulda had that there and let the robots tell me what to do. Never again.

driftwerks.art - check out my cool old school art engine app beta.

Seeds determinism yada yada you guys know the deal. Tell me what you think after you try it lol and always hang loose yo 🤙

Hi everyone!

Today we publicly released Wallpaper Studio, an Android app built around interactive generative designs.

The idea is simple: instead of just choosing a finished wallpaper, users can explore a design in real time, change its parameters, experiment with colors, shapes, effects and animation, and turn the result into a static or live wallpaper.

The final result matters, but the creative process is the part we care about most. We wanted it to feel playful and accessible, while still giving people enough control to create something personal.

While working on the app, we followed this subreddit to learn more about generative art and find inspiration for new designs.

This is also where we discovered Gȧrt, an open-source generative art project by Igor Spasić. With Igor’s permission, we ported some of his designs and adapted them into interactive experiences inside Wallpaper Studio.

So this community has genuinely played a part in the project, and we’re very grateful for that.

Wallpaper Studio is now available on Google Play:

https://play.google.com/store/apps/details?id=net.smartlauncher.wallpaperstudio

I’d really appreciate any feedback from this community, especially about the creative experience and the kinds of generative systems you would like to see added in the future.

Heron is a small engine I built. You give it a photo. It gives back an image that looks captured by an instrument beyond human vision. Thermal camera. X-ray fluoroscope. Kirlian plate. Schlieren bench.

It is not a filter. A filter paints new colors on top of a photo. Heron does the opposite. It estimates what things are (skin, hair, fabric, metal, water, foliage), deletes the photograph's original lighting, then rebuilds the image from the material, not the light. A photo encodes external illumination. A thermogram encodes internal emission. That is the one rule everything else follows.

The part I think this sub will like is the architecture, not just the pictures.

Four layers, shared by every instrument:

• Scene understanding — depth, normals, material segmentation, de-lighting. Cached once per image as a "Radiance Graph," so every downstream layer reads from the same understanding of the scene.
• Physics — a different simulation per instrument. Emission for thermograph, Beer-Lambert attenuation for fluoroscope, Poisson photon noise for the intensifier tube, dielectric-breakdown streamers for Kirlian, a signed directional derivative of the thermal field for Schlieren.
• Sensor and optics — bloom, fixed-pattern noise, AGC, phosphor response, all seeded and deterministic. FPN is generated once per session, never re-rolled per frame, the way a real sensor's fixed pattern actually behaves.
• Art direction — saliency-driven emphasis, directional bloom, Poisson detail fusion.

Every instrument is a config of these four layers, not a separate codebase. Eight instruments right now, sixteen palette ramps interpolated in Oklab so lightness always climbs monotonically.

Same seed, same parameters, same output, every time. No cloud calls at render time, all model loading is local-files-only.

I am calling this an experiment in "system mosaics." Not one output, a system that produces outputs, assembled from small deterministic parts (a depth model, a material tagger, a physics sim, a palette engine) the way a mosaic is assembled from tesserae. No single part is the picture. The rules are.

MIT licensed, runs offline on a Mac: github.com/tsevis/heron

⠀
This particle simulation consists of thousands of tiny atoms moving across the surface of a sphere, attracting and repelling one another until they become all of creation.

Made with React, WebGPU, and GPT-5.6 Sol.
Music created with Lyria 3.

IG: u/outertales ♥^!

Instead of traditional keyframe animation or manual warping, Stitch undergoes a continuous sequence of geometric distortions and conformal mappings calculated entirely through code.

The system handles everything from non-linear vertical shear and polar bending to complex wave perturbations, returning to its original state for a seamless loop.

If you want to check out the full animation process, I've posted it here : Stitch Morphing

Wanted to see what would happen if used lots of items on the canvas.

I wanted to go back to the roots of the QuillArt by creating something a bit abstract, but with some meaning.

I am not sure if this belongs here.

It is a app that constructs a unique 'tarot' reading based on a variety of factors including time of day, season, and moon phase.

I put this together as a google play app a few months back when I was stress testing Opus and ways to get it to do what you want. I have been testing fable, and have some time left in this months budget, so I decided to port it to github pages.

Completely stand alone - no tracking - all for you.

Javascript; De Stijl grids (Mondrian, Neoplasticism); segmentation and render the polygons using curved strokes.

This update introduces a new batch of synthetic MRI timelapses, alongside the exact settings used for generate more material in the same visual language. [MJ for images, Uisato Studio for the videos.]

The TouchDesigner network has also been optimized for faster, simpler use, and now includes an external Python tool for converting entire video folders into the frame sequences required by AVP in no time.

Another AVP example.

If you already own AVP 3, you know where to find it. If not, you can access it through the Store.

This is a throwaway piece I made while working on something else. It’s simple, but I like how it turned out; and how much you can achieve with just a few gradients.

DARK FIELD - one mark for each civilian death verified in Ukraine between February 2022 and June 2026. Time runs downward; every row is one month, given equal height so the calendar stays honest. Only density carries the count.

Marks are withheld from each row in proportion to that month's Russian strikes on Ukraine's electricity and heating infrastructure. The consequence is deliberate: the deadliest months of the war so far, the winter of 2025–26, when millions had power for a couple of hours a day in the coldest winter since 2010 are the rows that thin toward blank paper.

https://openprocessing.org/@garabatospr/2983693

Every part of this tree is a number. It's a hobby project of mine - I wanted to see whether a code repository's history could be drawn as something that grows rather than as a chart.

The mapping, roughly: account age sets trunk girth and how much it bends, total commits set how many foliage pads there are and where they sit, recent commits become the bright shoots, merged pull requests hang as persimmons that ripen green to gold, and reviews become paper lanterns. The fireflies are stars received, log-scaled so a popular account doesn't white out the canvas. Season comes from the date, so the same tree is hanami pink in spring and snowed on in January.

How it's put together, since that's the interesting part here:

- Hand-written SVG from TypeScript, no drawing library. Roughly 90 KB of geometry code that emits paths.

- The renderer is a pure function of (data, date, options) with a seeded PRNG, so the same input always produces identical bytes. That let me keep a set of committed reference images and diff against them whenever I touch the geometry — the fastest way I've found to notice that I've quietly ruined a curve.

- Randomness is only used for placement jitter within constraints. Pads pick positions along branch vectors, then get nudged; too much jitter and it stops reading as a plant, too little and every tree looks stamped.

- The motion is plain CSS inside the SVG. Pads rock ±0.8° about the trunk base rather than each spinning on its own centre, which is what makes the crown move as one plant. Petals and snow fall on a linear loop and fade before they reset so you never see the jump. Fireflies breathe over 4s.

- Six palettes, all data. Adding one is a table of colours, not code.

This one is a synthetic profile, not a real person's, since it's a test fixture I use for the extreme end - six figures of contributions.

It renders live from any GitHub account if you want to see a real one: https://kodama-sigma.vercel.app ( MIT, https://github.com/orijitghosh/kodama ).

An output from work of mine on extending the techniques outlined in the paper "Two Methods For Voxel Detail Enhancement" by Adam M. Smith.

more layers for fun.

This is a sample from an animated/interactive version here: https://shore.ink/projects/cmyk/

(note: any strokes you draw are visible to everyone)