Layered, factured, separated ... looking for the emergent structure from the seeming chaos of wave fall on a beach so that an overall abstract impact reveals detailed water and beach scenes in the individual grids. What do you think?
This is a fun one to sit with, I kept tracing the diagonal lines across tiles, like your eye is trying to stitch the beach back together. Where it's working best for me is the middle section, where the wave foam breaks up the grid lines so it stops reading as "tiles" and starts reading as texture. The edges feel a little more literal though, like I can still tell where one photo ends and the next starts. If you wanted to push the abstraction further, I'd try mixing in a few tiles rotated at odd angles so the seams disappear more.
Thanks, April, for your insights and thoughtful comments. Very much. I've toyed with turning tiles – some already are – but I wanted to see how far I could go with a limited number of elements. I'm finding if there are too many, it's harder to for the structure to emerge.
I think what appears as titles or texture is a function of distance. When you get close to a big physical print, the tiles reveal their texture while the larger squares become images in their own right.
All good fun. Beauty is much of the leg work was done by a script compiled by Claude use Affinity's API calls. I merely tweaked.
This is a fun one to sit with, I kept tracing the diagonal lines across tiles, like your eye is trying to stitch the beach back together. Where it's working best for me is the middle section, where the wave foam breaks up the grid lines so it stops reading as "tiles" and starts reading as texture. The edges feel a little more literal though, like I can still tell where one photo ends and the next starts. If you wanted to push the abstraction further, I'd try mixing in a few tiles rotated at odd angles so the seams disappear more.
Thanks, April, for your insights and thoughtful comments. Very much. I've toyed with turning tiles – some already are – but I wanted to see how far I could go with a limited number of elements. I'm finding if there are too many, it's harder to for the structure to emerge.
I think what appears as titles or texture is a function of distance. When you get close to a big physical print, the tiles reveal their texture while the larger squares become images in their own right.
All good fun. Beauty is much of the leg work was done by a script compiled by Claude use Affinity's API calls. I merely tweaked.