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Genny
576 posts
Genny
@0xGenny
🟡 Doodling with code—gen art by @taptapkaboom
Katılım Mayıs 2023
51 Takip Edilen124 Takipçiler
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TapTapKaboom Library update 💥
pattern = true;
Besides the libraries of elements—birds, suns, clouds, jewels, subs, etc—the library is a collection of code that allows me to do a bunch of things with these elements.
One of the features I completed today allows me to create a repeating pattern image. I can use this as a base to create on top of, or as is. Maybe for textiles, banners, socks, throws, book covers—pretty much anything.
I’m using an app called Processing to do this. I’m writing the code in Java, which I’m getting more comfortable with. Also, I’m asking ChatGPT for tons of code snippets—rather than Google.
#artist #wip #avax #avaissance @artonavaxaxart
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Okay fellas! You may be wondering what I’m working on for my @ArtOnAvax Avaissance project. Right now I’m working on The TapTapKaboom Library ✨ WTF is this? It’s a collection of common elements I use in my artwork—submarines, clouds, suns, birds, jewels, jellyfish, mushrooms—those kind of things.
For example, I’ve created the first 2 groups in the library—blue birds and plain white birds. This is my prototype. Each group has 10 birds with 25 variations—different types of eye combined with different types of beak. Each bird is a mini-generative piece of art with traits and attributes. That means, for the group of blue birds, there are 250 unique items that could be added to the canvas. When you add rotation, position, and volume of birds into the mix, the variety of scenes and compositions I can create (pretty quickly) racks up. The idea of a library is perfect for my work, which has a recurring theme of dreams in it. And, in dreams, there are recurring elements and themes.
I’ve been wanting to begin this library since the early days of The Doodleverse collection. But it always felt overwhelming. Parts of creating it are incredibly tedious. I’m ADHD. It’s always been quicker to create a piece from scratch than create and use elements from my hypothetical library—and it’s given me more dopamine. However, the elements in previous pieces can never be reused. Because they aren’t split into layers and often times have other elements on top of them, which means I’ve erased the unseen artwork. If I wanted to nudge an element a few pixels up, or to the right, or try it elsewhere in the composition, I’d need to redraw parts of it. I’ve often been too lazy to do this. Going forward, I’d like to draw all elements as their own individual element and add it to the library—possibly with some attributes that give it variety. It will take longer to create pieces in the beginning, but I’m hoping it will pay off. The kind of art it’ll lead to will be different, layered, and more complex. It feels like I’ve developed enough patience and discipline to tackle this project now.
So, is the library just a bunch of elements you can add to pieces? No. In conjunction to creating the separate elements, I’m creating a code base that will allow me to do a few different things:
1. Add items from groups to the canvas in batches. The code will choose random elements (say 20) and position and rotate them randomly. A computer does this a million times faster than I can. And it does it randomly. It creates unique compositions of elements. It’s like having a collaborator—not AI level, but similar.
2. I’ll also be able to add items in a burst. Same as above, but fewer in a concentrated area. With a click of my mouse button, or tap of a keyboard button.
3. I’ll also be able to add a single random item from a group—again, with a tap of a button.
With the generative art learnings I’ve picked up from working on @0xGenny and Dreamheadz, I’ll be able to create doodled pieces of art that come to life with code. This excites me no end. I love mixing handmade stuff with technology.
The TapTapKaboom Library is a precursor to the LIMINA project because LIMINA will use all kinds of elements to form parts of each artwork. But the library has multiple uses for the future:
1. Generative art collections (art made with code—Processing and p5.js).
2. Collections that mix generative and unique elements of art—like this LIMINA project.
3. Quick additions to artworks.
4. Prototyping of scenes and idea-generation.
5. Non-art artwork. Like merch, stickers, banners, socks.
6. Individual items can be used as ERC-1155 tokens to build your own ERC-721 TapTapKaboom pieces. I’m epically looking forward to this. Based on what pieces you hold, you’ll potentially get access to different ERC-1155 tokens you can use to create your own collaborative TapTapKaboom artworks.
What are the next steps for me?
1. Create more and more of the library groups and elements.
2. Write more of the code features. This could be a massive project in itself. So I’ll need to balance features with what I need to create the LIMINA collection.
3. Creating starting visuals for LIMINA.
Let me know your thoughts on this method of creating art. Ask anything—I want to let you into my process of creating the art that I do.
How can you support me?
1. Pick up my IRL art in my store.
2. Buy my NFTS.
3. Buy my Star Arena tickets.
4. Comment and feedback on my work.
#WIPWednesday #wip #bts #artist #ArtistOnTwitter #nftartist #avax #avaxnft TapTapKaboom
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The @0xGenny collection still popping up for free on ZeroOne.
twitter.com/0xGenny/status…
Genny@0xGenny
Just dropped on @zero________one How far can you stray?
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At the start of 2022 I became a full-time artist. Web3 and NFTs made that possible. It was a wild ride. However, sometime in 2023 I stopped being a full-time artist. It wasn’t a big decision. It just kind of happened.
Here’s why I think it’s not bad (and probably good) that artists aren’t full-time artists.
If you’re a full-time artist, you need to make art to put bread on the table. And if you need to make ends meet this month, you may drop the price of your art to make that happen. Maybe you sell a $10,000 piece for $2,000. Maybe you sell several pieces worth $1,000 for $100. Once you take this route, it’s difficult to go back. You devalue your art when you do this. Or you pressurise yourself to create at the same high level and sell for the same low level.
Maybe you don’t drop your prices.
Maybe you start creating art that you think is worth less—for two reasons. One, it’s easier and quicker to create. And two, you think the lower price point will attract more collectors. You wouldn’t need to wait too long for pieces to sell. You’d be right about point one. But maybe not point two. What creating pieces that are worth less does is paint you as an artist that creates pieces that are worth less. You may not be happy with these pieces. You may resent them, or creating in general. You may even enter a different market—a market that may be in a race to the bottom. You may end up creating your art just for money. It may become all about efficiency rather than creativity. You may even end up creating because you fear not being able to pay your bills.
Artists who have part-time jobs, or even full-time jobs, can focus on concepts and ideas without needing to rush. They can explore and experiment. They don’t need to stick to what’s worked in the past. They can take the time to produce the work they want to create. They don’t have the pressure of needing to make money from their art. Worrying about making ends meet is removed. While they’re not actively creating their art—while they’re working on other things—their subconscious is tinkering away. A struggling full-time artist may not allow themselves any kind of free-time for their minds to wander and tinker. Part-time artists can list their work at the price it deserves, and wait until the right collector buys it. They don’t need the sale. They’re not desperate.
We still call part-time artists “artists” because this is the thing that makes them come alive. Being a designer, art-director, illustrator, barista, barman, business-owner, doesn’t make someone any less of an artist. In fact, as a successful full-time artist, may do any of the aforementioned things as part of the creative process.
If you identity as an artist, even if you’re not a full-time artist, call yourself an artist. And if you need to take on other kinds of work—for your mental health, for your art, for your family—do it. I don’t think the world judges you as much as you judge yourself.
I left the cycle of creating art to make money and it feels great. I still consider myself an artist. It’s something I was born to be. I hope this post helps you, or someone you know.
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Gm
I’m back from vacation
It was good
What am I working on?
3 projects 👇
1) My @ArtOnAvax Avaissance collection LIMINA. It’s a visual exploration of what happens when the veil between reality and The Realm of Dreams is immutably breached. The construction of several gateways to The Realm of Dreams was decreed by The Order after the Dreamheadz proved its existence. Think Doodleverse+
2) A booth at a three-day conference where I’ll have markers, paint, and tons of canvases and white board to doodle big on. I’m also giving a keynote talk about progress, cheats, and magicians.
3) An online NFT class for artists and creatives who know very little (or nothing at all) about NFTs, blockchain, minting, and all the other stuff I learned in the past 21 months.
I’m saying NO to everything else
It’s a hard to skill to learn
It’s got easier the more I’ve practiced
My @0xGenny project is paused until after LIMINA. My Reverie project is complete and SOLD OUT. I’ll be dropping the odd piece on @zero________one
Big loves ❤️
Rich
P.S. dms still open
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@0xGenny @zero________one That’s what you get for saying GM instead of GN 😉
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My second piece on @zero________one is for those who say GN 🌘 thank you for collecting!
zeroone.art/artwork/inaccu…
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@NwFrnTrs @zero________one This means they’ve all been collected. And the database hasn’t had time to reflect the supply
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The latest algorithm “Shreads” is live for public minting! It’s the last drop for a while—I’m going into big project mode in September.
ttkb.me/genny-mint
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