Jonathan Barbeau
Over 100 subscribers
In the realm of artistic expression, innovation knows no bounds. The fusion of technology and creativity has given rise to a captivating genre known as generative art – a realm where algorithms and artistic vision intertwine, resulting in captivating and ever-evolving masterpieces. In this era of web3, where the lines between tradition and innovation are blurred, I am thrilled to unveil my latest generative art collection, "Jeu de ligne."
In June, I celebrated my first anniversary as a full-time (ish) artist. The project was 90% complete, and I seized the opportunity to launch a new collection on the newly revamped and fully immersive 256art platform. The timing was perfect, and I eagerly embraced the occasion.
"Jeu de Ligne" consists of a limited mint of 300 editions, available at a mint price of 0.03 ETH.
As of the time of writing, the collection is nearly finalized. Over three-quarters(226 out of 300) of the project has already been minted, and I couldn't be more thankful for the support this project has received. I extend my heartfelt gratitude to all who have been a part of this journey. Thank you.
You can currently explore and mint "Jeu de Ligne" on 256art.com, feel free to check it out!
You can also find all my contact information on my website Jbarbeau.art
You can also support me by subscribing to my newsletter where you will receive unregular updates and deep dive on random project.
The name "Jeu de Ligne" came to me quite late in the project, probably just a week before the release. I had considered various other names, but they all felt too profound and introspective. While I understand that art is the expression of our soul, my soul wasn't in a deep place at that moment. The project exuded positivity and playfulness, while still maintaining a strong foundation in organized and repetitive composition (depicting the lines).
It was around this time that I stumbled upon an artwork by the late Marcel Barbeau, a highly influential artist from the previous century. He was a prominent member of the artists' collective known as “Les Automatistes,” which was active in Montreal during the 1940s. Alongside Barbeau were figures like Paul-Emile Borduas, Jean-Paul Riopelle, and many others.
The artwork I encountered was titled “Jeu de ligne,” and the name deeply resonated with the message I aimed to convey through my collection. It possessed a strong structural aspect while also being vividly colorful. Furthermore, as I delved into the generative aspect of my project, I often stumbled upon amusing structures.
**Despite sharing a family name with both Barbeau and Borduas, I have not discovered any data confirming a familial connection with them in any way
Jeu De Ligne, Marcel Barbeau (1962)
"Jeu de Ligne" underwent a substantial evolution, going through numerous iterations and styles before solidifying into the completed collection. One aspect remained constant throughout the entire process – the tools I employed. The journey commenced as an exploration of particle systems and flow fields, for which I utilized P5.js in conjunction with a custom noise function.
The decision to delve into flow fields was intentional, even though some argue that it has been extensively used in this realm. Why did I choose this path? Simply because I hadn't previously had the opportunity to thoroughly delve into the concept and technique behind it. My objective was to ascertain the potential directions I could steer this approach and determine if I could imbue it with my personal touch.
One of the earlier wips from what became Jeu de Ligne
I began working on this project just over a year ago in June 2022. I tinkered with the algorithm for about a month until I found myself losing interest. It seemed to lack direction entirely, and I struggled to infuse any distinctive elements into it. Additionally, the p5.js noise function appeared inclined to generate patterns and repetitive structures on the canvas when the scale value was set to a higher range. If you examine the image, you'll notice the recurring structure despite the variations among the particles.
Time passed, and approximately a year later, in April 2023, I rekindled my connection with this project. I reopened it with a fresh perspective, employing a novel noise function with the guidance of Piter Pasma. He took the time to explain the workings behind his cool little function and I thought it was a good idea to use it to spice up this old project.
What was once a dormant project burgeoned into a tree full of fruits. While I can't delve too deeply into specifics, numerous ongoing projects have branched off from this common ancestor. This leads me to share a message with fellow artists: A project that seems stagnant in the present moment may very well flourish in the distant future. For those engaged in Generative Art, I strongly advocate for utilizing a version management system like git. Doing so will keep track of all your ideas.
At a certain juncture, the project showed a more fluid essence, adorned with organic textures, and its style bordered on that of traditional charcoal art. I was genuinely captivated by this direction, and I may even revisit it at a later stage.
Charcoal Wip
One day, I intentionally broke something while experimenting with the system and adjusting the parameters. This is something I really enjoy doing. To avoid delving too deeply into technical terminology, I’ll keep the coding jargon to a minimum. Initially, I had a parameter that would yield a floating-point number between -0.5 and 0.5. This function consistently produced values within this range, which influenced the algorithm to guide the particle's motion in a fluid manner.
However, instead of instructing the program to interact within the range of 0.5 and -0.5, I directed it to only track values between 0.004 and 0.12. This introduced a new random element to the entire process and disrupted its uniform foundation.
This alteration resulted in outcomes like these:
It started to move the whole composition in steps as the particules are themselves moving independently. I started to create these lines or shifting edge and I really loved the aesthetic it showed me.
Subsequently, I made the decision that whenever the x and y coordinates of each particle shifted, I would introduce a new directional factor and then divide it by 0.1. Why did I do this? Don’t ask why, I do that sometimes for no reason, just to mess things up. Additionally, I implemented a condition wherein if a particle ventured beyond a designated zone, it would wrap around to the opposite end of that zone. This essentially "trapped" the particle along the zone's edge, contributing to the formation of finer lines each time the composition repositioned itself on the canvas.
Finally, I incorporated a smaller zone and introduced it as a token parameter to control the framing. Subsequently, I opted to adjust the entire composition to a size of 16x22, deviating from the initial 1:1 square format. This alteration significantly enhanced the overall style.
At that point, the project was 90% complete. I proceeded to incorporate random parameters to introduce diversity in each output. For instance, the lines could range from blurry to fine, the complexity of the composition could vary from 1 to 6, the color palette was adjustable, and I utilized the asymmetric parameters mentioned earlier. This approach yielded more consistent outputs and assisted in eliminating unfavorable results.
I believe that each output carries its own unique narrative. I encourage anyone to select a piece and invest time in observing it. Your mind will engage in the process of interpreting what it perceives, and before long, you will start identifying elements within the composition.
I derived great enjoyment from engaging with individuals on platforms like Twitter or Discord, attempting to give them names based on our collective interpretations.
Here are a few examples:
The Spider - #102
The Seahorse - #32
The Snail #123
I genuinely hope you enjoyed this write-up about "Jeu de Ligne." It holds a special place in my heart, and I consider it my favorite project thus far. If the art resonates with you and you appreciated the article, kindly consider sharing it with your friends and/or family. Your support would be greatly appreciated.
If you're interested in exploring the potential of the algorithm, head to the 256art platform's project page and click on the "variations" button. Have a blast generating endless outputs! And if you're inclined to contribute to the project, you can mint a piece – that would be incredibly cool. The "Jeu de Ligne" page can be found here: https://256art.com/project/jeu-de-ligne-2
For those of you who are already collectors, I extend my heartfelt gratitude. Your support empowers me to dedicate more time to honing my craft and delivering increased value. Moreover, I'm currently in the process of setting up a basic system to manage redeemables. If you're interested in ordering a print, you can reach out to me directly via email: barbeau.jonathan@gmail.com. I'll be more than delighted to assist you with your order.
A massive thank you to the entire 256art team as well. Collaborating with all of you has been a wonderful experience, and I'm confident it won't be the last!
I also want to take this opportunity to express my profound gratitude to Piter Pasma for his invaluable assistance in helping me comprehend noise algorithms.
Wishing each of you a fantastic day, and I anticipate returning soon to delve into the process of my fx(hash) speedrun titled "Aweille!"
You can find all my contact information on my website Jbarbeau.art and You can also support me by subscribing to my newsletter where you will receive unregular updates and deep dive on random project.
