![]() ![]() ![]() If we wanted to expand our pattern a little and draw a mixture of lines and circles, we could use the innerCircleRadius property once again to ensure each line stays within its parent cell’s edges: tessellation. Note: I often use innerCircleRadius to find the maximum possible width/height for an object, then scale it down a little to give my patterns some breathing room. The innerCircleRadius property of each cell is the radius of the largest possible circle that can sit at its center and not touch any of its edges - think of it as a rough guide for when you want to avoid overlapping objects. ![]() Conversely, when tessellating, our draw calls are denominated in patches. Voronoi tessellations of regular lattices of points in two or three dimensions give rise to many familiar tessellations. With ordinary draw calls, we render primitives such as triangles, lines, or points. Here youll learn what a tessellation is and how to tell whether or not a figure will tessellate. Here’s a simple animated example to get us started: Tessellation is a form of geometry amplification: programmatically turning geometry into more geometry. If you are new to the world of generative SVG, pop over to my starter kit to dip your toe in the ocean! A visual overviewīefore we get started, I would like to show you what Voronoi tessellations are, how they work, and how they can help form the basis of gorgeous generative patterns. This tutorial is perfect for folks familiar with generative art and comfortable working with JavaScript/SVG. Paint Select a color, and then click on a shape to change its color. Hammer Click on any group of glued shapes, and it will break it apart into the original polygons. To do so, we will be using a classic generative tool, the Voronoi tessellation. To copy all shapes, first click-and-drag a rectangle around the shapes to glue them together. Random and unpredictable, yet efficient and harmonious. Before these mathematical definitions of tiling and tessellation were formalized, humans had. Examples of tesselations in real life include quilts, mosaic walls and floors, 3D buildings like the Louvre in Paris, and artwork by M.C Escher. In this tutorial, we will be learning how to form aesthetically pleasing patterns inspired by nature. For example, pentagons fail to tile the plane because they leave small gaps when placed edge-to-edge. While both chaos and exacting precision can both be beautiful qualities in generative art, we rarely - if ever - find examples of either extreme in the natural world. When composing generative patterns, placing objects on a canvas purely at random can feel chaotic, while aligning them to a traditional grid can feel rigid/predictable. It is a wildly powerful tool for us artists, but can be difficult to tame and sculpt into something that feels organic/balanced. Randomness in generative art is a double-edged sword. ![]()
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