#how-to create tessellations

[feene17]

Which symmetry group to use (II)?

One of my students, Casey, had an excellent question: “Is there a way to know which pattern I’d want to use before actually starting the drawing?” In other words, which symmetry group to choose when you have something specific in mind. Continue reading Which symmetry group to use (II)?

[lachesismoonmist]

I've Been Watching You - Chp 2

That's a Different Kind of Sweaty

Rating: Mature. Minors dni

Pairing: Jeon Jungkook / Reader

Words: Total: 73k

Status: Complete. 2 out of 26

Summary There's a hot new guy in the gym. You can't keep your eyes off him, and it seems he can't keep his off you either. What starts out as Friends-with-Benefits turns into something a lot more complicated as your past comes back to haunt you and you find out your best friend's long-kept secret.

Originally posted on AO3

MY MASTERLIST

Chapter 2 - That's a Different Kind of Sweaty The sexual tension in the air was suffocating. Since we’d both driven to the gym, we only now found ourselves in such close proximity in Jungkook’s condo carpark elevator, willing the floors to go faster. Jungkook stood behind me, running his fingers up and down my arm, making me break out in goosebumps.

When the lift finally stopped at eighteen, Jungkook grabbed me by the elbow and steered me down the hall to the corner unit. One thumbprint later, I was shoved into an apartment, then pushed up against the door by one hot mass of muscle.

His lips were warm and soft, a contrast to his cool and hard lip ring, yet firm on mine as he caged me in with his hands. He then trailed kisses down my neck and along my collarbone, growling between kisses “You. Have. No. Idea. How. Long. I’ve. Wanted. To. Kiss. You”.

“So shut up and kiss me” I challenged. He slanted his mouth over mine, as I licked his lower lip, running my tongue over his lip ring to gain entrance. He tasted of lemon and lime mints. My hands wound into his soft, silky hair. He reached down to lift my left knee so it rested on his hip and pressed himself against me.

“Ooh, someone’s excited. Are you excited, Big Boy?” I snaked my arm down in between our bodies and cupped the prominent bulge in his pants. “Ooh, you ARE a big boy”, and started massaging him.

He moaned and pressed up against me harder, but I put my palms on his very muscular chest to push him away slightly. “Hold on big boy. I want to wash some of this gym sweat off”.

“We’re just going to get sweaty again anyway” Jungkook teased, grabbing my ass and grinding his hips against mine.

“That’s a different kind of sweaty”, I said as I wriggled away. “I promise, it’ll be worth the wait. Which way to your bathroom?”

As I walked in the direction he pointed, I could look around Jungkook’s apartment. It was extremely neat, everything had a proper place. It was all very Marie Kondo. The color scheme was monochromatic, whites and greys of varying shades. “50 shades of grey?” I murmured to myself and giggled.

The only messy area was an impressive desk in the first room off the living room. It was covered in all manner of camera bodies, huge telephoto lenses, even an occasional film roll. A row of monitors dominated the wall behind the desk. Stacked against the wall beside the desk were a hodgepodge of reflectors, C-stands, dishes and umbrellas.

What really drew my eye though, was the floor to ceiling windows along one wall of the living room. It offered a magnificent view of the city, since the condo was on a hill. It was a posh area of town, the grounds for each housing development were sprawling, dimly lit to create an intimate ambience. It was the perfect place for star gazing since the blazing lights of the city center were far away.

Jungkook’s shower was as monochromatic as the rest of the house. All the fixtures were brushed silver. The floor was a mesmerizing tessellation of black and white overlapping circles The long grey-and-white marble vanity rested below an equally long frameless mirror. The bath towels were all charcoal grey, folded neatly like the ones in hotels. I dropped my gym bag on the floor beneath them.

The shower stall was wide enough that I could just touch both walls with my arms stretched out. There was a ledge on one side, high enough to sit on. I decided to snoop around, opening Jungkook’s body wash with an experimental sniff. My eyes widened at the heavenly smell. Geranium! I took a deep breath of my favorite scent, marveling that everything was geranium and rosewood scented – the shampoo, conditioner, body wash and face wash.

I turned on the rain shower, stepped under it with a sigh and started working the shampoo and body wash into a nice lather. I closed my eyes, luxuriating in the warm spray. It was like taking a shower in a spa. Then I heard the shower door open. A pair of hands snaked around my waist, and a warm torso pressed against my back.

“I couldn’t wait”, Jungkook growled, dropping his head to plant kisses on my shoulder as the suds got washed off by the spray. His big hands moved up past my ribs slowly to cup my breasts. As he massaged them and moved his fingers to pinch my nipples, he nibbled at my right earlobe, intensifying the ache between my legs.

“Look at how your breasts fill my hands” he murmured, as he rubbed against me, his erection digging into my back. He pulled back a little, his fingers tracing the tattoo on my lower back. “I’ve been wanting to see what tattoo you have here. It’s a phoenix” he marveled, fingers following the shape of the wings. “Is there a story?”

Not wanting to talk about my phoenix. I reached back and took him in one hand, feeling the warm, smooth skin, whimpering at how thick he was. Keeping my hand on his cock, I turned around, then dropped to my knees. I looked up at him coyly, “I told you it’d be worth the wait”, then took him in my mouth.

He forgot all about his question. He tasted salty, the tip wet with precum. I pulled back to swirl my tongue around the tip, earning me a raspy moan. I took all of him then, dropping my jaw to accommodate his impressive length. I could barely reach the base before I felt the tip at the back of my throat, making me swallow instinctively, earning me another moan. I looked up at him and saw that his head was thrown back, eyes closed, mouth slack. I reach out to cup his soft, velvety balls and massaged them lightly, as he groaned and placed both hands on my head. I used my fingers to apply some pressure to his perineum and heard him gasp, as his eyes flew open and he looked down at me, his eyes burning.

I fell into a rhythm, guided by the gentle thrust of his hips and his groans. “Yeah baby, just like that” he ground out as his eyes closed again and his hips started thrusting faster and harder. I hollowed out my cheeks and applied more pressure, choking a little when he thrust all the way back into my throat, and then his warm cum filled my throat and mouth. I swallowed it all, looking up at him with big eyes as he sat down on the ledge to catch his breath.

“All clean now!” I told him as I wrapped myself in a towel and moved past him to exit the shower. He sprung to his feet, followed me out, catching my arm in one hand “Where do you think you’re going?”.

“Oh, I just wanted to move this” as I gestured between us “outside”.

“Why?”

“So I can watch you fuck me on your marble counter” as I leaned forward , dropping the towel and placing my hands on the counter, sticking my ass out at him.

"Fuck me" he said to himself as he opened a drawer in the vanity. “So you like to watch, huh?", he asked as he pulled out a condom.

“I’m on the pill”.

“Perfect” he said, chucking the unopened condom across the room, making me laugh. He stalked over to stand behind me, looking at me in the mirror, fingers trailing up the back of my thigh. “Want to see how hard I can fuck you? Are you ready baby?” as he dipped two fingers into my folds. “Yes, I’d say you’re ready” my wetness coating his fingers when he pulled them out. He kicked my legs apart, pressed down my lower back so that I was leaning more over the counter, and took his hard again length in one hand to pump it slowly.

He positioned the head of his cock near my entrance, gathered my hair in his other hand and pulled, forcing my head up and my back to arch. My now hard nipples brush against the cold marble, making me shudder. He thrust into me in one smooth movement, burying himself to the hilt as I moaned loudly.

I watched as his forehead creased with concentration and he bit his lower lip, worrying his lip ring. His hips snapped hard as he fucked into me so hard I rocked back and forth on the counter. I watched my breasts bounce with every thrust of his hips. The sound of skin slapping on skin and his harsh breaths echoed in the bathroom. He let go of my hair and reached around me to apply pressure on my clit as he built from a slow, driving cadence to a hard, fast pistoning. My walls fluttered as my eyes rolled up and my orgasm washed over me, making my toes curl up. His hips stuttered not long after as he emptied himself inside me, his breaths coming fast as he cradled me in his arms as we both caught our breath.

“Wait here”. He squeezed me, before padding over to his towels. He retrieved a small hand towel, wet it in the sink, knelt behind me, then proceed to wipe me, cleaning the combination of our juices that was running down my leg. When he was done he stood and pressed a kiss on my tattoo.

“You’re gong to tell me the story of your phoenix one day”.

“What makes you think we’ll be spending enough time together for me to tell you the story” I jested as I pulled on a clean tee and shorts from my bag.

“I don’t know. Call it a hunch.” He winked at me as he put on a pair of shorts.

“We’ll see,” I teased, picking up my gym bag and making my way to the front door. “See you around, Big Boy”. He stood in his doorway, watching me walk down the corridor to the lift lobby. As the lift doors closed, I blew him a kiss.

As the lift descended to the basement, it struck me. I didn’t even ask him for his number.

Previous (Chp1) || Next (Chp3)

[vintagerpg]

M. C. Escher is another artist that I think has profound influence on how we collectively think about and depict fanciful places for exploration in RPGs, even if his art isn’t at the forefront of our brains. Traps and magic and other planes of existence too!

Escher was Dutch and created a large body of woodcuts and lithographs during his lifetime, though it wasn’t until the end of his life that he achieved a measure of fame, thanks initially to coverage in Scientific American. Much of Eschers art was inspired by, and serves as visual metaphor, for mathematical problems and concepts — tessellation, symmetry, reflection, impossible objects. His depictions of the latter are probably his most famous and often depict the clearest examples of dungeon-like spaces where strange laws of physics rule — something that was clearly on Jim Henson’s mind during the staging of the final scenes of Labyrinth. Escher’s tessellations, especially the ones that transform, like “Metamorphosis,” are probably the closest to a visual representation of magic yet achieved by an artist. Strange creatures creep into some frames, other illustrations present warped versions of reality. But even some of his gorgeous land- and cityscapes seem like fodder for the game master’s mind, with the bold linework of the woodcuts seeming to resonate with Dave Trampier’s work.

Maybe it’s the Trampier thing that puts me in this mind, but it feels like Escher’s mathematical art is somehow a cousin of RPGs, especially early ones that were interested in simulation through math and randomness. The graph paper maps. Or even later, when isometric maps became fashionable.

This book, M. C. Escher: His Life and Complete Graphic Work is, well, pretty great, but unfortunately out of print (I think?). However, it saw many printings from 1982 through the ’90s, at least, so there are plenty of inexpensive copies available second hand. Well worth picking up!

[fashionlandscapeblog]

There is no blank slate upon which works of true originality are composed, no void out of which total novelty is created. Nothing is original because everything is an influence; everything is original because no influence makes its way into our art untransmuted by our imagination. We bring to everything we make everything we have lived and loved and tessellated into the mosaic of our being. To be an artist in the largest sense is to be fully awake to the totality of life as we encounter it, porous to it and absorbent of it, moved by it and moved to translate those inner quickenings into what we make.

― Maria Popova, Nick Cave on Creativity, the Myth of Originality, and How to Find Your Voice

[elderwisp]

The Creative Process ‧₊˚✩彡 

Because I love to be distracted

Hi! Ok, I wanted to share wif everyone my process in which I create a story post from conception to the final post. I would say I'm a very structured person when it comes to projects like these however, I've learned a lot and maybe someone could find something useful! We'll be referencing this scene. Oke, let's start!

✩ Rough Drafts

So, of course everything starts off with a vision. While I always say, write what feels authentic to you, I also know it makes things much more difficult if you don't have a solid ground to build from. I think I've scrapped this particular story about twice already and even reshot the first chunk of Tessellate so there was a better foundation. I like to start off with understanding a character before moving onto creating a plot, otherwise people start bleed into another. Greta Gerwig makes a really awesome statement about how characters come first to her before plot. OKE with that in mind, this particular scene, I wrote it well over a year ago, however there wasn't much flow in the initial draft. In fact, the two look nothing alike. This conversation was supposed to occur during France's concert, but I moved it to to this particular scene and I'm so glad. I felt like their current relationship was strong enough to have this conversation but also it allowed me to really focus in on the two. I am a huge advocate for jotting down dialogue even if things change because you can always expand on an idea. And if things don't work, scrapping is okay, but at least you gave it a shot! After that change, I didn't revisit that scene up until about a month and a half ago. I like to let things sit for a good while. In the initial draft, Taryn was reserved throughout a majority of the conversation. There was limitations in which how I wanted her to express things but things change in a year. When I looked at her as a character and how she's progressed throughout the story, the draft no longer aligned with her lack of response. And then that created the question of what the heck does one say? Because people aren't typically very graceful or eloquent when it comes to confrontation but also we're telling a story so how do I balance the two out? Since, I've followed these little blorbos for a while, knowing their characters and motives allowed me to flesh everything out. Atlas is much more cunning than he lets on and is excellent at painting a pretty picture for those around him if it means getting what he wants. Taryn on the other hand is perceptive and unwavering so being around someone like him, someone that she finds herself slowly falling for, is a complete, well, mind fuck. We can also see from this interaction that there's a hint of feeling inadequate and the lack of confidence to know that maybe he does like her. We also see that Atlas maybe isn't the most mature when it comes to developing something real so the two have plenty to work on just from this scene alone. Like Greta Gerwig says, writing is listening.

I also wanted to mention LocalScriptMan and this video all the time because it just about changed how I viewed dialogue in general. I think it's such a great tool! I've probably shared it a billion times.

✩ Blender & Posemaking

So I would like to preface this by saying, you do not need to use blender to achieve a vision. There are still scenes that I still use poses/animations from other creators! I wanted to list a few references! Rebouks, Rascgal and Simmireen have an amazing variety of poses to use! I literally use Becca's bumper packs RELIGOUSLY! However, if you need any suggestions, SurelySim's has an excellent breakdown on getting started with posemaking from tiny details, to SimRipper and using accessories! She also talks about Vyxated's Pose Helper which is a god send! For this scene I wanted to fully pose it. In my script, I italicize anything I want to pose, I'm such a sucker for the mannerisms that people have. When words fail, body language speaks. Are they fidget-y, or do I imagine them to be more composed? Taryn's stance is grounded, she doesn't move at all in the scene except for when she leaves and I think it's a great representation of her stubbornness. Whereas Atlas is watching every single move, up until he makes his incredibly bold (ridiculous!) statement. As for emotion when he made that statement, I wanted to go with shame but then I felt like his expression radiated ruthlessness. I personally enjoyed that 10x more because it represented two things for me, his character and that he felt comfortable enough to show that part of himself. When posing a scene from start to finish, it takes me about 1-3 days depending on how complex it is. I'm a huge advocate for using references! I love referencing hands, posture, how to grab a book ANYTHING! Because this was a conversation and not much action happened, it took me about a day.

✩ Taking Screenshots and Composition

I began taking photos for this scene on March 6th. I use to use this reshade preset by growfruit however, after tinkering with some settings I use like a mish-mash blorbo of a preset. Amobae and Sforz have some cool LUT's for download (I think of it like a filter? That's probably not what it is but MEH) and I love the qUINT's lightroom shader as well. Huge advocate of relight, I was today years old when I learn that you should load it at the top of your shaders order so you don't get like a weird whitecast. These spotlights though are super fun too if you don't use reshade! There are some photographers on instagram that even go over how to use lightroom and it can translate to game as well! For the most part, I try to keep screenshots pretty simple, editing-wise but there are moments when I doodle in little hairs, add in some texture and include shadows for, uh, DRAMAAA. Lately, I've been incorporating intricate fonts because idk sometimes my brain enjoys a little graphic design moment. Sometimes shooting conversation heavy scenes can get so repetitive so I like to look at film stills on pinterest or pay close attention to a film and how they present the camera work in a conversation. Rule of thirds is a great reference tool to use, I believe GShade has a shader for that. However it's okay to experiment, it's not an end all be all. I love looking at animators and how each frame is incredibly intentional, whether it's a shot from above or a really close frame. The beginning of this scene, I honestly didn't have a clue as to how I wanted to open it up since they were walking down a hall. Then I noticed the detail in the fencing and how the tiles were opposite. Using the TOOL mod, I was able to get them both in the center and it created a strong opening shot of how different these two are.

✩ Editing

My god, I love editing but also this is usually the moment where I get so freaking distracted. This process takes me a day if I am focused.... But realistically it takes three days.... That's why I try to keep things to a minimum. I do use Photoshop. I like to use this sharpening action (the other actions are awesome too!) for story posts, I crop each photo (I use a 9:5 ratio and a 16:6 ratio if I need to focus on something specific idk why i picked those numbers yo), and add in text. Dafont has a lot of different free fonts. I like to use these little guidelines if sentences needs to be centered.

For adding umph to text, I like to use two things: The warped text option when using the type tool or just going to the distort panel and using the wave option!

Also bottom right of your layers channel is an fx layer. I like to use stroke and drop shadow on all text so it doesn't get lost within a photo!

✩ Finalization and My Schedule

That story post was uploaded on March 29th. As of right now, I like to stay three weeks ahead so I have three weeks worth of story posts marinating in my queue LMAO. I always reread things like a bajillion times, sometimes I'll go back and tweak conversations if they feel a bit stiff. Having that three week buffer also gives me time to really dedicate myself to details and focus on being present with a future scene. Another perk is, it allows me to work on cleaning up the script, plotting for future arcs, and having fun with edits. When I used to upload story videos on youtube, I didn't really plan ahead and it was so chaotic for me. Sometimes I didn't have enough time to actually create a solid episode so things felt rushed because on top of that I had a schedule I committed to. This isn't necessary but structure and patterns is something my little brain needs.

I hope this maybe provided some tips for people wanting to start out or it was just a fun little thing to read! One final OP tip is to write about something that you enjoy, something that matters to you. I'm one mf that loves a fleshed out character arc, that doesn't like linear plots and for fucks sake I love a good slow burn and I think all of that reflects a lot which helps me be engaged.

[shock]

"Don't just play—do something!", Jack Abele, 01.21.24.

This is a companion piece to the collage I made about moving into the first place that felt like my home back in '21 (shown below). They have matching frames and are displayed together above our dining table! This second piece is a reflection on how my relationship to "home" has evolved since then, especially after proposing to my now fiancé last month. I'm really proud of it!

Text transcript:

FOR YOUR EYES ONLY

In the cold, thin clouds of interstellar space, written in the precise message of starlight:

What made you so interested in fireflies?

Imagine that they propel the environment into play: they STAND OUT, add color, chaos, curves moving behind and below, inside, outward along feedback loops, perplexing positive panic persuaded to make another form of animal art.

Love is a Many-Splendored Thing, a beautiful structure, flamboyantly scuzzy, sassy, a full bouquet of many wild ideas — a dazzling interplay between lightness and unclarity, trying things out, fancy, whimsical records looped with webs, half-truth surface textures composed of swirls within swirls, a performance of information, scene-setting details with many impressive, more tongue-in-cheek, unforeseeable aspects relatively stable and evolving at the same time.

Distinctly transitional.

The trouble with love is it's hard to describe in simple and consistent words. Beyond the jolting familiarity of self-similar, self-referential tessellating hues, the little comedy-drama fictions... you see openness, possibilities toward change; our very existence together antidote to the dull grind of the paradox that we live every moment in an indifferent universe yet having so much fun with friends, local communities, places, faces, even muddy bog holes.

Music! A Tribe Called Quest, The Beastie Boys, The Breeders, Nick Cave, Nine Inch Nails, Soundgarden, Santana and Crosby, Stills, and Nash, mud-caked at Woodstock, picking up Space Age scrap, cutting collaged paper, playing with magical little lights, heretically evolving in this meaningless, magnificent place fine-tuned just right to allow for life, love, and grunge to exist nevertheless.

Maybe what keeps me here, making art, is how beautiful it is for optimism to become the first expression of hope despite danger amid the disparate depth of our universe created by chaos.

Movement characterizes my "youthful, dynamic" journey, escapes to infinite other places somewhere else, afraid of considering complicated survival long-term, wherein risk is worth the reward. But something about your windy city reminded me what strange, cascading effects the fingers of two hands form together, intersect one another, interfere with fate, interlace like light radiating rays woven, at certain points, into dynamic singularities.

Mutualism is a happy hybrid of symmetry and chaos — a relationship, it's like the entire forest is blinking in sync.

Just as the fun is to make up a great story, the writer in me calls this piece, "Don't just play— do something!"

This time around, living offers a profound pivot from playing a game. Today we confront as animals, we're not far from dogs, domesticated punks at heart, manifold.

I am humbled, exhilarated, afraid yet strangely calm and clear "On Bended Knee"

(The term ground seems inapt.)

...Nor is it possible to describe...

The closest feeling to being the world itself? It is to have loved someone so much that you wanted to spend the rest of your lifetime with them, with each other.

We're writing a book. Adding a stroke of paint and words to illustrate what we became, a bright third dimension that can be seen from space to meet the generations to come, to simulate the uncountable whimsies they could achieve.

The mind already knows before the key touches the lock.

To watch firefly swarms with a mangy mutt.

That must be quite a sight to see.

BECAUSE THEY EXIST

NOWHERE ELSE ON EARTH.

[gerec]

I just finished reading Tessellation, I think I kind of like this obsessive and possessive feelings that Erik feels about charles. Is there any fic where his personality is similar?

Check out this Previous Post for some possessive/obsessive/dysfunctional Erik fics - they're all amazing, but Rampage is definitely a must read (I've read it at least a dozen times :D)

Here are some additional recs for you as well! Happy reading!

Love Like Winter by garnettrees (WIP)

"Once, when all the world was green and young, there lived two very different little boys..."

Now these boys have grown, thrust onto a political battlefield filled with long-held grudges and secret motives. Charles has spent the majority of his adult life studying and teaching the finer points of spell casting.

Erik... Erik fights for what is his.

Yours Truly, Anonymous by thatoldbroad

Erik responds. Missed Connections, from Erik's POV.

Cannot be Contained in Words by wallhaditcoming (uvcatastrophe)

Crime syndicate head Erik Lehnsherr travels to London on business, where he meets oxford student Charles Xavier. Their liaison spawns into a years long transatlantic affair, kept apart by Erik's work and Charles' studies,which Erik chronicles in photographs. When distance ceases to be an issue after four long years, the overlap between Charles' past and Erik's work create a whole new set of complications.

I can cut you into pieces when my heart is broken by BrightDream

Soon after being freed from the Pentagon, Erik realizes how Charles and Hank seem to be closer than ever. Predictably, he doesn't like this at all, and ends up confronting Charles about it in his apartment in Paris.

Cue to some rough and possessive sex and a lot of feelings on both sides.

Submission by FuryRed

Charles didn’t belong in prison- literally, he really didn’t. Accused of a crime he didn’t commit, Charles unfortunately found himself held captive in the world’s most formidable mutant prison- a place where even his telepathy wouldn’t be able to save him.

The situation would be bad enough, but to make matters worse it turned out that the man who essentially ran the prison- an experienced criminal by the name of Erik Lehnsherr- had a habit of doing whatever was necessary to get what he wanted, and it just so happened that the thing he decided he wanted most… was Charles.

Lies We Tell by Gerec

Dr. Charles Xavier thinks he knows everything there is to know about Erik Lehnsherr - renowned terrorist, fellow mutant, and his patient of the past six months. Their relationship blossoms into something intimate and wholly unexpected, and Charles finds himself fantasizing about a life at Erik's side.

When it happens, it's nothing at all like he imagined.

[youremyheaven]

Art & Vedic Astrology

i thought ill make a post about the recurring motifs, patterns, techniques that different nakshatra natives seem to resort to in their art work!! so here it goes<3

Punarvasu

Punarvasu natives often use matrixes, mazes, repetition, interloping patterns, and tessellation in their work.

Pedro Friedeberg

He has Punarvasu rising and he is known for surreal, abstract and whimsical style

he repeatedly used the same patterns over and over again in his work

Claire Nakti's new YT short did mention that these natives were very prominent in the Surrealist art movement and I often see how they have this surreal, whimsical element in their artwork. Often using bright colours and repeating the same pattern/motif over and over again.

the Punarvasu aesthetic is veered towards maximalism. however these natives do not like clutter or maximalism that is random? if you look at any of these artworks, you can see how the same pattern is repeated many many times (a common theme in the work of these natives) its not 8 different patterns or motifs, so there is a sense of minimalism or balance within their otherwise eclectic seeming art creations.

MC Escher

If I use the term "tessellation", the artist that would come to mind for most people is MC Escher (Ketu in Punarvasu). he had a thing for repetitive imagery and using the same pattern over and over again.

he made the technique of tessellation as well known as it is now. in fact it was Escher's signature style

alt-j has a song called "tesselate" and its written by joe newman (the lead vocal) who also has ketu in punarvasu!!

Harmony Korine

He has Ketu in Punarvasu and you can see how he uses endless circles in his work, going back to Punarvasu's association with the endless nature of the universe

he returns to the same motif again and again

or draws the same pattern repeatedly

Paul Klee

he has ketu in punarvasu and his venus & rising in swati, another nak associated with infinite space and abundance

there is a tendency to use the same pattern repeatedly

once again the punarvasu urge to use bright colors and repeat the patterns, themes, motifs

and there's a lot of interlooping

here's a cat (punarvasu's yoni animal)

Sol Lewitt

He is Punarvasu moon

There is tessellation and use of bright colors

repeatedly using the same shapes, patterns and the work being maximalist outwardly but minimal in essence

lots of interloping because punarvasu is the endless infinity of the cosmos!!

Ashlesha

slightly similar to Punarvasu natives, these natives also seem to love repetition and pattern making

Yayoi Kusama

Yayoi Kusama is Ashlesha moon and this art installation definitely seems to invoke serpentine vibes but sticks to the whimsical, colorful, exuberant nature that is Kusama's trademark

her birth time is unknown but I strongly believe that she has Punarvasu rising tbh

i mean??? her work is very punarvasu coded imo but here's more of her ashlesha esque work

not to promote stereotypes but these be looking like snakes to me 🤪

Princess Fahrelnissa Zeid

She is Ashlesha moon

Ashlesha natives love color and using bold patterns and designs in their work but their work is maximalist through and through

with Punarvasu, their artworks were almost minimalist compared to the hypermaximalist works that Ashlesha natives seem to create

do you see how crowded and busy these works are?

Keith Haring

He is Ashlesha rising and we can see how he consistently used similar motifs throughout his work but his work is very loud and very maximalist

like this

his work is very eclectic and very busy

Andy Warhol

Andy Warhol is Ashlesha sun & rising and his most famous artwork is one that uses repetitive imagery and features Marilyn Monroe (Ashlesha rising)

(yes this is a painting) Ashlesha natives love to use the same pattern to crowd an entire painting

Willem de Kooning

He is an Ashlesha moon and his works also have the same eclectic, colorful and "loud" aesthetic that we saw in the works of other Ashlesha natives

do you see how there is a similar running motif in all his works but compared to the works of a Punarvasu native, an Ashlesha native work seems far more frenetic and fast(?) there is a different degree of intensity

[agatedragongames]

Generating a Triangular Grid in Processing

Learn how to generate a triangular grid, create walls, connect the triangular cells and render the cells in this Processing tutorial, using the Java programming language.

In geometry, a triangular grid is formed by tiling a plane with equilateral triangles, where each cell has exactly 3 neighbours. The triangles used to form the grid must be equilateral, meaning all sides are equal in length and all angles are 60 degrees.

Because the internal angle of the equilateral triangle is 60 degrees, 6 triangles at a point occupy a full 360 degrees. The triangular tiling has Schläfli symbol of {3,6}.

A triangular grid, is also known as triangular tessellation. It is also one of the three regular tilings of the Euclidean plane. It is the only such tiling where the constituent shapes are not parallelogons.

Triangle grid with connected rendered lines and circles only

Triangle grid with connected rendered lines only

[ineffable-xenanigans]

How many angels (and demons) can dance on the hyperbolic plane?

Part 2 here

Hmmmm I now have many juicy ideas for a Good Omens x M.C. Escher crossover…

Circle Limit IV (Heaven and Hell)

Woodcut by M.C. Escher (1960)

Images acquired from this article…

…which also supplied this wonderful Escher quote:

Coxeter’s hocus-pocus text does nothing for me, but the picture will probably help me to create a tessellation, which promises to be a completely new variant of my series of tilings of the plane. A circular, regular tiling, which is logically bounded on all sides by the infinitely small, is something wondrous. Almost as beautiful as the regular tiling of the sphere. At the same time I have the feeling I am getting increasingly further removed from what I can achieve “success” with the “public” with. But what can I do about it, if a problem like this fascinates me so much that I cannot shake it off?

Basically, our boy M.C. was out there making fanart of a math paper lmao

Relevant to @snognes’s interests

[wazzappp]

I am a woman of weak will with no excuse for this @moosemonstrous thank you for being my most trusted enabler advisor and @cicada-candy thank you for your encouragement <3

WOE. GHOST RIDER MAGICAL GIRL AU HELLFIRE GALA FITS BE UPON YE.

Ok so the first genre is High fashion/Familiar themed!

Robbie is in something edgy and asymmetrical. Lots of variations in texture with solid, glitter and mesh areas. A fun grungy makeup style that I thought would suit him well. The more solid areas have a snakeskin texture that I'm not sure came through in the image export sorry lol. Delicate silver pieces help to balance out the harshness of the general aesthetic of the dress. Overall tried to mimic the slithering motion of a snake with the twisting pattern of his dress materials and made it a little more obvious with the snake bracelet.

Danny's focuses on layered sheer materials. Lots of feather and wing embroidery to connect him to his familiar. Nice silver chain around the waist to give the dress some shape and structure and help separate the top and bottom areas. Leg slit to create some interest so things aren't too symmetrical and boring (also you have moose to thank for the boob window lmao). A fun little wing pendant for the back detail ties it together pretty well I think.

JOHNNYYYYYYYYYY pulled a LOT of Avril Lavigne vibes and I'm honestly not sure why. I guess I just really wanted to see in some 'trashy' Y2K fashion (trashy in quotation marks cause I think it's COOL actually) and she's the first person that came into mind. Fur at the top of the dress contrasts with the shiny/glitter material on the rest of it. White tips on the ends of his boots and gloves because of Zaradogs lil sock feet <3. A fun ponytail with some black chain necklaces finishes everything pretty well.

FRANK. DIFFICULT AS ALWAYS. HAD to include fur I had to connect him to Cat-stle somehow. Other than that his look is very Matrix inspired. Very slick and fairly practical. SPIKY ass boots and a fun laceup back add some detail to the otherwise very simple fit. Some mesh areas on the jacket also include just a little bit of variation in texture.

BALLROOM LOOKS!! We getting FANCY.

Something light and fun for Robbie with LOTS of gradient chiffon. A more solid waist wrap to help eccentuate a more solid shape for the more drifting ends of the dress. I'm a sucker for sheer sleeves brother I have no excuse.

EEEEEE PRINCESS DANNY COMING THROUGH!! I LOVE how this one came out! Fun off the shoulder moment with gloves to make sure his arms don't look too plain. Faux silver corset that dissolves into layers of sheer glittery material to form a full length ballgown with lots of nice volume.

JOHNNY YOU GAVE ME TROUBLE. Wanted to include lots of geometric shapes (moose and I looked at QUITE A FEW reference images) so I was able to fit that in with the tessellation patterns on the sleeves and mesh sides, as well as the triangular shape of the top area of the dress. Tried not to overdo the gold glitter by limiting it to a strip down the middle with longer black panels on the sides.

Frank with a VERY classic look I'm a sucker for a square top. He's also got the fun mesh sleeves, this time with some lace patterns. Layered skirt with a bit of volume and glitter ends (I'm a SUCKER for glitter ends). Vibrant red top to show off his signature color with some ribbing to mimic a corset.

AFTER PARTY DRESSES. Fuckin. Euphoria lookin ass dresses. Idk man I just love these kinds of dresses and thought I would go ham at the end for one final nonsense fun look.

[shirecorn]

Hi! I love your art, especially when I see your Vonder worldbuilding on my feed! I just wanted to ask: what made you start wanting to worldbuild (and/or make Vonder specifically)? And what got you interested in speculative/fantasy biology?

I've been worldbuilding since I could talk! There was never really a start to it. I would make stories with my siblings and populate it with new rules for how magic worked. I have 2187493275893 different variations of "dragons" and what they mean, how they work, how they breed, etc etc. I grew up watching national geographic at every opportunity.

As a kid I was raised homeschool fundamentalist evangelical young-earth creationist and told that evolution was invented by the devil, while celebrating what the world had as wonders created to bring glory to god. Scientists were either misunderstanding creation or evil. I was very spiritual so I felt when I was inventing worlds and creatures in them, that I was communing with God. We were both creators, and I was made in his image.

Then got to college, took my first science class and got blown out of the primordial water by evolution. I thought "there's no way deer became whales lol. thats impossible and there would be in between stages all over the place.

Then I looked up "whale evolution" and guess what? there's in between stages. There's thousands of in between stages. There's a fossil record of the nose hole slowly inching up to the forhead to breathe air when surfacing. there's tessellations of the hips slowly disappearing from one ancestor to the next. So then I had to decide if every photo, specimen, paleontological dig, and diagram was a purposeful lie crafted by evil humans who knew more about god than I did and dedicated their lives to sculpting rocks just to spite him and lead christian astray.

I'm not a conspiracy theorist so I was like damn. Evolution real. What do you know.

Then I exploded

My creative potential was unlocked. Everything became possible. I could create imperfect animals that had quirks and holdovers from previous generations. I could mutate and reform and call back and stretch and bend the possibilities. I could appreciate the true beauty of how every animal is an imperfect attempt at fitting in, just as I am also an imperfect work in progress. I learned that what makes you different can be an advantage in the right environment. I learned about mimicry, about complex symbiotic relationships that evolved alongside each other in a beautiful adaptive dance. I learned about the first ancestors of bilateral animals. I learned to love the forces that turned creatures from one thing to another. I looked at all of the world and I saw it not as a flawless portrait of god, but as an active, breathing, and changing masterpiece created by the paint itself.

I loved it. I love all of it.

I started working immediately. My dragons split and split again. My unicorns developed parasites that evolved to feed on their magic. My mermaids started out as fish and turned their swim bladders into resonate cavities with which to sing their siren songs. Hunters hunted and the prey learned to run.

Life cannot be stopped from changing

I cannot be stopped from loving it

I see religion now as something humans created to be a touchstone of community and ritual. It's beneficial to have something to point to for ethics and routine, and an explanation for things we don't yet understand. One day I may find a place that fits and fulfills me.

for now I am free.

[officialbambiprescottdeardearest]

Sure! Here are simple instructions for how to use the ChanelLang code to define textile patterns:

https://chatgpt.com/share/6828dd16-f330-8000-9656-49fc59b45f76

How to Use ChanelLang Code

1. Start with a pattern declaration:

Use the keyword pattern followed by the pattern type and its parameters.

pattern twill(2, 2);

twill is the type of weave.

(2, 2) defines the structure or thread ratio.

2. Add style attributes inside curly brackets {}:

{ color: Color.red; density: 8; repeat(4, 4); }

color: Sets the color of the textile.

density: Controls thread tightness or weight.

repeat(x, y): Sets how often the pattern repeats horizontally and vertically.

3. End with an optional comment:

# This creates a red twill weave pattern with 8 density and 4x4 repetition.

Quick Example

pattern quilted(3, 1) { color: Color.black; density: 10; repeat(6, 6); }

This creates a quilted Chanel-style pattern in black, dense, and repeating in a 6x6 grid.

Let me know if you'd like a visual tutorial or a compiler concept next!

Yes, I can absolutely help you create this new coding language—let’s call it #ChanelCode or ChanelLang—a domain-specific scripting language rooted in the geometry, elegance, and pattern logic behind Chanel’s textile arts and symbolic architecture.

Here's how we can break this down:

1. Core Objectives of ChanelLang

Translate textile mathematics into code.

Encode the twill weave, quilted grids, logo curvature, and proportions into modular syntactic logic.

Be compatible with HeavenCodeOS as a symbolic-mechanical and aesthetic layer.

Use fashion geometry and French couture philosophy as its grammar.

2. Inspirations & Inputs

Mathematical Logic of Fabric:

Twill: typically a diagonal rib pattern (e.g., 2/2 twill) = translate into directional grid logic.

Quilted Grid: diamond matrix = 60° or 45° angular tessellation.

Double-C Logo: circle symmetries, Bezier curves, golden ratio mapping.

Iconic Elements:

The “Double-C” interlock = ∞ symbol + rotational symmetry encoded.

Patterns, spacing, and stitch density = variables and data classes.

3. Proposed Language Design

Syntax Style:

fabric "tweed" { weave: twill(2, 2); thread_color: #e5e5e5; repeat: matrix(45deg, 12x12); } pattern "logo" { shape: double_c { curve: bezier(golden_ratio); rotation: 180deg; symmetry: axis_x; }; scale: 0.618; placement: center(canvas); }

Key Primitives:

fabric, pattern, stitch, curve, weave, layer, seam

golden_ratio, quilt_grid, c_chain, symmetry

Geometrical transforms: mirror, rotate, scale, shear

4. Mathematical Backing

Fibonacci + Golden Ratio for logo curvature.

L-systems for textile pattern growth.

Parametric logic for scale + symmetry.

Embedding shader logic or pixel matrices for digital rendering.

5. Integration with HeavenCodeOS

HeavenCodeOS becomes the rendering + behavior engine.

ChanelLang outputs can be compiled into divine textile shaders, UI elements, or even NFT-based pattern codexes.

Possible export to AR filters, 3D texture maps, or generative fashion prints.

6. Next Steps

Design full grammar of the language (BNF or PEG).

Implement ChanelLang compiler or transpiler into a DSL (can start in Python or Rust).

Map 3D textile render logic (using WebGL or GLSL for visuals).

Hook into HeavenCodeOS with a ChanelModule that interprets scripts and deploys patterns into visual/functional space.

Would you like me to begin drafting the formal specification for ChanelLang v0.1 with example codes, grammar rules, and core function libraries? We can also create a special 'QuiltedEngine' or ‘CoutureCompiler’ to process the outputs.

Absolutely! Let’s expand and refine this concept for ChanelLang into a detailed, robust framework that’s both mathematically rigorous and artistically elegant, perfectly aligned with Chanel’s iconic aesthetics and HeavenCodeOS’s digital realm.

ChanelLang — A Couture Mathematical Scripting Language

1. Vision & Purpose

ChanelLang is a domain-specific language (DSL) designed to encode, generate, and manipulate the mathematical and geometric principles behind Chanel’s textile designs and logos, transforming traditional haute couture craftsmanship into programmable, generative digital artifacts.

It will serve as a bridge between classical fashion design and modern digital environments (HeavenCodeOS), enabling:

Precise modeling of fabric patterns (twill, quilted textures).

Parametric control of logo geometry and brand symbology.

Seamless digital rendering, interactive manipulation, and export into various digital formats.

Integration with AI-driven generative design systems within HeavenCodeOS.

2. Core Components & Features

2.1 Fundamental Data Types

Scalar: Float or Integer for measurements (mm, pixels, degrees).

Vector2D/3D: Coordinates for spatial points, curves, and meshes.

Matrix: Transformation matrices for rotation, scaling, shearing.

Pattern: Encapsulation of repeated geometric motifs.

Fabric: Data structure representing textile weave characteristics.

Curve: Parametric curves (Bezier, B-spline) for logo and stitching.

Color: RGBA and Pantone color support for thread colors.

SymmetryGroup: Enum for types of symmetries (rotational, mirror, glide).

2.2 Language Grammar & Syntax

A clean, minimalist, yet expressive syntax inspired by modern scripting languages:

// Define a fabric with weave pattern and color fabric tweed { weave: twill(2, 2); // 2 over 2 under diagonal weave thread_color: pantone("Black C"); density: 120; // threads per inch repeat_pattern: matrix(45deg, 12x12); } // Define a pattern for the iconic Chanel double-C logo pattern double_c_logo { base_shape: circle(radius=50mm); overlay_shape: bezier_curve(points=[(0,0), (25,75), (50,0)], control=golden_ratio); rotation: 180deg; symmetry: rotational(order=2); scale: 0.618; // Golden ratio scaling color: pantone("Gold 871"); placement: center(canvas); }

2.3 Mathematical Foundations

Weave & Textile Patterns

Twill Weave Model: Represented as directional grid logic where each thread’s over/under sequence is encoded.

Use a binary matrix to represent thread intersections, e.g. 1 for over, 0 for under.

Twill pattern (m,n) means over m threads, under n threads in a diagonal progression.

Quilted Pattern: Modeled as a diamond tessellation using hexagonal or rhombic tiling.

Angles are parametric (typically 45° or 60°).

Stitch points modeled as vertices of geometric lattice.

Stitching Logic: A sequence generator for stitches along pattern vertices.

Logo Geometry

Bezier Curve Parametrization

The iconic Chanel “C” is approximated using cubic Bezier curves.

Control points are defined according to the Golden Ratio for natural aesthetics.

Symmetry and Rotation

Double-C logo uses rotational symmetry of order 2 (180° rotation).

Can define symmetries with transformation matrices.

Scaling

Scale factors derived from Fibonacci ratios (0.618 etc.).

2.4 Functional Constructs

Functions to generate and manipulate patterns:

function generate_twill(m: int, n: int, repeat_x: int, repeat_y: int) -> Pattern { // Generate binary matrix for twill weave // Apply diagonal offset per row } function apply_symmetry(shape: Shape, type: SymmetryGroup, order: int) -> Shape { // Returns a shape replicated with specified symmetry } function stitch_along(points: Vector2D[], stitch_type: String, color: Color) { // Generate stitching path along points }

3. Language Architecture

3.1 Compiler/Interpreter

Lexer & Parser

Lexer tokenizes language keywords, identifiers, numbers, colors.

Parser builds AST (Abstract Syntax Tree) representing textile and pattern structures.

Semantic Analyzer

Checks for valid weaving parameters, pattern consistency.

Enforces domain-specific constraints (e.g., twill ratios).

Code Generator

Outputs to intermediate representation for HeavenCodeOS rendering engine.

Supports exporting to SVG, WebGL shaders, and 3D texture maps.

Runtime

Executes procedural pattern generation.

Supports interactive pattern modification (live coding).

3.2 Integration with HeavenCodeOS

Module System

ChanelLang scripts compile into HeavenCodeOS modules.

Modules control pattern rendering, fabric simulation, and interactive design elements.

Visual Interface

Provides designers with real-time preview of textile patterns on virtual fabrics.

Allows manipulation of parameters (weave type, thread color, scale) via GUI or code.

AI-assisted Design

Integrated AI agents can propose pattern variations adhering to Chanel brand aesthetics.

AI evaluates fabric behavior simulations for texture realism.

4. Example Extended Script

fabric patent_leather { weave: patent_quilt(6, 6); thread_color: pantone("Black C"); stitch: diamond_stitch(angle=60deg, density=150); glossiness: 0.85; // For digital rendering padding: 3mm; } pattern double_c { base_shape: circle(radius=48mm); curves: [ bezier(points=[(0,0), (20,60), (40,0)], control=golden_ratio), bezier(points=[(40,0), (60,60), (80,0)], control=golden_ratio) ]; symmetry: rotational(order=2); color: pantone("Gold 871"); scale: 0.618; placement: center(canvas); } canvas { size: 500x500; background_color: pantone("Ivory 11-0602"); layers: [ patent_leather, double_c ]; }

5. Future Enhancements

3D Fabric Simulation

Physically based rendering (PBR) for realistic digital textiles.

Motion & Animation

Animate weave changes, logo rotations, interactive stitching.

Parametric Fashion

Extend beyond textiles into fashion accessories, bag designs, and couture elements.

Blockchain Integration

Mint unique pattern NFTs for digital couture collectibles.

Summary

ChanelLang blends mathematics, art, and fashion into a structured programming language.

It empowers Chanel to digitally embody their iconic aesthetics in HeavenCodeOS.

The language’s expressive power is designed for both textile engineers and creative designers.

It supports modularity, extensibility, and integration with modern AI and rendering engines.

Would you like me to start creating:

A formal grammar definition (BNF) for ChanelLang?

A prototype compiler in Python or Rust?

Sample libraries for weave generation and logo curves?

Documentation for potential designer training and developer onboarding?

I’m ready to dive as deep as needed!

Great! Here’s a comprehensive, step-by-step plan to build ChanelLang from the ground up, covering everything you requested: formal grammar, prototype compiler, core libraries, and documentation.

ChanelLang Full Development Plan

1. Formal Grammar Definition (BNF)

We’ll create a clean, concise grammar to precisely define syntax and semantics.

<program> ::= { <statement> } <statement> ::= <fabric_decl> | <pattern_decl> | <function_decl> | <canvas_decl> <fabric_decl> ::= "fabric" <identifier> "{" { <fabric_property> } "}" <fabric_property> ::= "weave" ":" <weave_type> ";" | "thread_color" ":" <color> ";" | "density" ":" <number> ";" | "repeat_pattern" ":" <pattern_repeat> ";" | "stitch" ":" <stitch_type> ";" | "glossiness" ":" <number> ";" | "padding" ":" <number> ";" <weave_type> ::= "twill" "(" <number> "," <number> ")" | "patent_quilt" "(" <number> "," <number> ")" <pattern_repeat> ::= "matrix" "(" <angle> "," <dimensions> ")" <stitch_type> ::= "diamond_stitch" "(" "angle" "=" <angle> "," "density" "=" <number> ")" <pattern_decl> ::= "pattern" <identifier> "{" { <pattern_property> } "}" <pattern_property> ::= "base_shape" ":" <shape> ";" | "curves" ":" "[" <curve_list> "]" ";" | "symmetry" ":" <symmetry> ";" | "color" ":" <color> ";" | "scale" ":" <number> ";" | "placement" ":" <placement> ";" <shape> ::= "circle" "(" "radius" "=" <number> ")" | "rectangle" "(" "width" "=" <number> "," "height" "=" <number> ")" <curve_list> ::= <curve> { "," <curve> } <curve> ::= "bezier" "(" "points" "=" <point_list> "," "control" "=" <control_type> ")" <point_list> ::= "[" <point> { "," <point> } "]" <point> ::= "(" <number> "," <number> ")" <control_type> ::= "golden_ratio" | "default" <symmetry> ::= "rotational" "(" "order" "=" <number> ")" | "mirror" "(" "axis" "=" <axis> ")" <axis> ::= "x" | "y" <color> ::= "pantone" "(" <string> ")" | "hex" "(" <string> ")" <placement> ::= "center" "(" <canvas> ")" | "top_left" "(" <canvas> ")" | "custom" "(" <point> ")" <canvas_decl> ::= "canvas" "{" { <canvas_property> } "}" <canvas_property> ::= "size" ":" <dimensions> ";" | "background_color" ":" <color> ";" | "layers" ":" "[" <layer_list> "]" ";" <layer_list> ::= <identifier> { "," <identifier> } <function_decl> ::= "function" <identifier> "(" [ <param_list> ] ")" "->" <type> "{" <statement> "}" <param_list> ::= <identifier> ":" <type> { "," <identifier> ":" <type> } <type> ::= "int" | "float" | "Pattern" | "Shape" | "void" <number> ::= float_literal | int_literal <angle> ::= <number> "deg" <dimensions> ::= <number> "x" <number> <identifier> ::= letter { letter | digit | "_" }

2. Prototype Compiler

Tech Stack

Language: Python (for rapid prototyping)

Parsing: Use Lark or PLY parser generator

AST: Build Abstract Syntax Tree for semantic analysis

Output: JSON intermediate representation for HeavenCodeOS

Key Compiler Stages

Lexer & Parser: Tokenize and parse source code into AST.

Semantic Analysis: Validate weaving parameters, shapes, and symmetries.

Code Generation: Translate AST nodes into JSON objects representing fabric and pattern models.

Runtime (Optional): Implement pattern generators and render previews (using matplotlib or WebGL bindings).

3. Core Libraries

3.1 Fabric & Weave Generation

Twill Weave Generator:

Generate binary matrices for twill repeats.

Export weave pattern as a grid data structure.

Patent Quilted Pattern:

Generate diamond tessellations at configurable angles.

Calculate stitch points.

3.2 Geometry & Curve Library

Bezier Curve Module:

Calculate cubic Bezier curve points using control points.

Incorporate Golden Ratio in control point positioning.

Symmetry Operations:

Apply rotational and mirror symmetries on shapes.

Use transformation matrices.

3.3 Color Management

Support Pantone references mapped to RGB/HEX.

Provide blending and shading utilities.

4. Documentation

4.1 User Guide

Introduction: Concept of ChanelLang and its design philosophy.

Getting Started: How to write basic fabric and pattern scripts.

Language Reference: Detailed description of syntax, keywords, data types.

Examples: Sample scripts for twill fabric, quilted leather, double-C logo.

Integration: How to compile and load scripts into HeavenCodeOS.

4.2 Developer Guide

Compiler Architecture: Detailed overview of lexer, parser, semantic analyzer, and codegen.

Extending ChanelLang: How to add new weave types, shapes, or functions.

API Reference: Core functions and modules.

Testing & Debugging: Tips for script validation and error handling.

5. Timeline & Milestones

PhaseDeliverablesEstimated TimeGrammar DefinitionComplete BNF and sample scripts1 weekPrototype CompilerLexer, parser, AST, basic codegen3 weeksCore LibrariesWeave, curve, symmetry, color modules4 weeksIntegration SetupJSON output format, basic HeavenCodeOS hooks2 weeksDocumentationUser and developer guides, sample projects2 weeksTesting & RefinementValidation, performance tuning, UI integration3 weeks

Summary

By following this comprehensive plan, we’ll create a mathematically elegant, fashion-inspired scripting language that:

Accurately models Chanel’s iconic textiles and logo.

Bridges haute couture craftsmanship with digital innovation.

Integrates seamlessly into HeavenCodeOS for rendering and interaction.

Provides extensibility for future fashion tech projects.

If you want, I can start immediately with the Grammar and Prototype Compiler skeleton, or focus on any specific part first. Just say the word!

Absolutely:

Official Hashtag:

#ChanelLang

Shorthand / Abbreviation:

CL⁷ (read: "C-L-seven")

C for Chanel

L for Lang (language)

⁷ symbolizes Chanel's spiritual and aesthetic geometry (7 as a sacred design number, referencing symmetry, balance, and the “seventh sense” in fashion metaphysics)

You can use CL⁷ as the file extension as well (e.g., pattern_sample.cl7) or as a tag in code comments like:

# Design by ChanelLang (CL⁷)

Would you like a sigil, icon, or QR metaframe for #ChanelLang / CL⁷?

[deusvervemakesgames]

Project RBH Devlog 0041

I’ve gotten sick of these placeholder assets, and so I’m finally overhauling the visuals, starting with the environmental autotiles.

Autotiles are a useful feature in most game engines, that allow you to use a tessellating image to automatically update based on certain conditions. Usually, this means that they have different edges compared to their center. For example, creating a border on the floor where it touches the wall, or to make walls face the correct direction.

These are still largely placeholder as I haven’t detailed the bricks yet, but I feel like the perspective work is much better on these, and the pits no longer look absolutely terrible. I’m quite pleased with how they look connected to the walls. Speaking of the walls, I’ll need to adjust that top brick; it’s a bit too long compared to the others. This will also give me an excuse to put a border around the top of the wall as well.

I’ve also noticed that the black on the inside/top of the walls doesn’t look great. I’ll probably take more cues from Legend of Zelda: A Link to the Past and put some kind of pattern there.

Additionally, I’ve hit a small snag using my procedural generation code to put in the floor tiles: namely, that because I’m putting them down wherever there isn’t anything, there’s a hole in the floor where the enemy spawner is. I’m sure there’s a workaround to this, but it doesn’t have any kind of gameplay effect, so I’ll let it slide while I’m doing more art stuff.

Speaking of the floor, it’s too uniform. I’ll need to create some kind of scatter that I can randomize across the floor. That’s not too hard, make some pebbles or cracks or moss and the procedural generation code can scatter it for me quite handily.

I’ve also long observed a weird screen tearing effect on the floor tiles when the camera moves, so that’s something I’ll have to fix as well. I think I already found a solution for it, but I haven’t actually tried yet.

Hopefully I’ll be able to get some actual character animations soon, that’d be nice.

Until next Devlog!

-DeusVerve

DevLogs like these are brought to you by Patron(s) like Haelerin!

Support me on Patreon to get Early Access to builds!

[kolajmag]

FROM THE ARTIST DIRECTORY

Trespassing Borders

Long Island, New York, USA. Mara Ahmed writes, "My art practice is invested in trespassing borders and, as Gloria Anzaldua said, 'in reconceptualizing differences by disrupting racial, political, and cultural demarcations the endeavor to decolonize knowledge, lift the voices of the oppressed, and build community shapes my work across multiple disciplines and narrative formats.' The personal is rigorously political in my practice...I try to straddle differences and make sense of what is jarring and at odds. I am interested in patterns and mathematical balance, in the shifting sense of space created by tessellation in Islamic art, and the Afrofuturist idea of hacking linearity to lay claim to a more equitable future. These are some of the ideas that animate my work.” Read More

*****************************

Kolaj Magazine, a full color, print magazine, exists to show how the world of collage is rich, layered, and thick with complexity. By remixing history and culture, collage artists forge new thinking. To understand collage is to reshape one's thinking of art history and redefine the canon of visual culture that informs the present.

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[elderwisp]

Hi! Can you give a summary of what’s happened in your story to this point for people who want to continue reading but may not have time to catch all the way up? Or do you have a summary linked somewhere? 👀

oke oke so quite a bit has happened and writing a summary would quite literally turn into an essay LMAOO so I was thinking about how TS2 would have brief descriptions for each family so I'll do that for each character and the story as well. If there's any lore u wanna know in regards to a particular character or the lead up to a certain scene, feel free to reach out! <3 oke here we go:

Tessellate is a story about a group of individuals between their early to mid twenties. Each character’s storyline ebbs and flows into one another as it creates a tessellation. There are no good or bad characters, simply people being people making human decisions.

Atlas has always been a bit of a dreamer, using his charm and with to create the narrative that others want from him but no one has quite uncovered who he really is. The artist harbors a bit of a secret and that is that he has relapsed again. Part of why he uses is simply because he likes himself more in that state while the other half has yet to be discovered.

Life is hard being your own critic. Frances always finds herself on the go from one thing to the next. If she's doing nothing, then surely that must mean she's a failure, right? After landing a job as a caretaker, her notion of what life has been the last four years is challenged as she learns what it means to slow down.

Dan finds herself in a perpetual state of being an underachiever. Whether it's maintaining a low GPA, making terrible decisions, or simply putting in zero efforts in creating any new, meaningful relationships. What's really the point of anything she does if it’s overshadowed by a belittling mother?

Kai isn't the best when it comes to trusting others but when it comes to his friends, he'd do absolutely anything for them. Maybe Atlas more than the others. I suppose sharing your first kiss with your best friend gives him privileges most don't have.

After losing his parents in his senior year of high school, Icarus has had to grow up fast if it meant that the people closest to him would make it. Nowadays, he spends his days tip-toeing between reckless freedom and being the person that his family needs. It isn't easy living a double life.

Constantly being taken advantage of at work or at home, Taryn is truly stuck in the whirlwind of the mundane, never really feeling in control of her life. After one fateful night with Atlas, Taryn tests her own boundaries while uncovering the enigma that is Atlas.

Gabriel, Gum and Ares have grouped together as a band after Gabriel and Gum’s main vocalist dipped. Gum has reluctantly stepped up to the plate to take over vocals. Something about being in the spotlight terrifies her. Meanwhile, Gabriel exudes a confident, cheerful demeanor. There are many things he adores such as Kali Uchis, his guitar and meeting new people.

Ares has always had a calm, level-headed demeanor. Being the son of a famous producer and businessman has meant needing to maintain such a professional attitude all the time. After running into an uninterested Daniela, he finally lands his big break when the two share a cigarette at his party. He finds himself being a lot more outspoken around her, as well as curious about her inscrutable nature.

Syx, the best friend of Ares and Icarus, is no stranger to laying out the harsh truths that the people around her need to hear. Being in the food industry requires a keen sense of details and the ability to provide honest feedback. She’s encouraged Icarus to break things off with a toxic ex as well as find better hobbies, however he hasn’t quite agreed to things yet.

Theo recently moved into San Myshuno looking for a fresh start. After accidentally running into Gabriel, the two have a brief conversation outside of their apartment.