ABOUT THE PRINTS
All Original and Iteration works are executed as single-edition prints. That means that if you purchase one of these, you're getting an original work, and no other prints of that work will ever be sold by me. These works are inspected before signing and delivery. A certificate of authenticity is also included.
The Open Edition works may be printed multiple times, are not signed, and do not include a certificate.
All prints are created by a local, professional fine-art printing service in Austin, Texas, using an extremely high-quality wide-format printer.
When printing on paper, I use an archival quality paper with a light texture and a matte surface. This paper is 100% cotton fiber, and is acid, lignin, and chlorine free, ensuring that the work will continue to look great for many decades. The pigments used in the printing process are also archival quality, and are rated for 100 to 200 years.
Prints include a one inch white margin. Unless otherwise specified, all prints are signed on the face.
WHAT IS AN ORIGINAL ARTWORK?
An original artwork is a one-off piece programed by Tyler Hobbs. It is hand-signed by Tyler and is entirely individual. All works are executed as single-edition giclée prints and accompanied by the source code. That means that if you purchase a piece of art, you're getting an original work, and no other prints of that work will ever be sold by me.
WHAT IS AN ITERATION?
An iteration is limited series of unique images generated from the same program. While they may look similar, each iteration is a one-off original piece programed by Tyler Hobbs. It is hand-signed by Tyler and is entirely individual. All works are executed as single-edition giclée prints and accompanied by the source code. That means that if you purchase a piece of art, you're getting an original work, and no other prints of that work will ever be sold by me.
WHAT IS AN OPEN EDITION?
An open edition is an piece programed by Tyler Hobbs that may be printed any number of times. It is not signed by Tyler and does not include the source code or a certificate of authenticity.
WHAT IS A GICLEE PRINT?
A giclée print is made through a modern printmaking process in which individual prints are produced on a special large-format printer in extremely high resolution to give as close as possible a reproduction of the precise colors and strokes of the original work. The giclée process offers the highest-quality reproduction available.
WHAT IS A GICLEE PRINT ON PAPER?
My giclée prints on paper are gallery quality, printed on a lightly textured matte paper. This paper is 100% cotton fiber, and is acid, lignin, and chlorine free, ensuring that the work will continue to look good for many decades.
WHAT IS A GICLEE PRINT ON ACRYLIC?
My giclée prints on acrylic are printed and mounted behind a layer of gallery quality plexiglass and come with pre-installed mounting hardware. A custom two inch deep plexiglass box is constructed behind it to add depth to the finished piece.
WHAT IS A GICLEE PRINT ON WOOD PANEL?
My giclée prints on wood panel are printed on a one inch thick piece of solid birch wood and come with pre-installed mounting hardware. The sides remain unfinished and depending on the image, you can see varying amounts of woodgrain come through. A matte or gloss coating is applied for protection.
Although I endeavor to represent the truest colors of the actual artwork on screen, the nature of digital computer screens means colors may vary slightly.
SHIPPING & DELIVERY
US Shipping: All works ship free within the US. The work will be shipped through USPS Priority Mail, and a tracking number will be provided. For delivery to US addresses please allow between 8-12 business days for artwork delivery.
International Shipping: There is an additional shipping fee of $15.00 USD, and shipping may take roughly 8-21 business days for all purchases. Where possible, works will be shipped with USPS Priority Mail, and a tracking number will be provided.
If you require your purchase urgently, please send me an email to discuss express courier shipping options.
Please check out more detailed information about shipping and returns here.
All work on this site is sold unframed unless otherwise specified. If you would like to know my recommendations for framing a particular work, please send me an email and I will do my best to help.
ARTISTIC PROCESS, Etc.
DO YOU KNOW WHAT THE OUTPUT IS GOING TO LOOK LIKE BEFORE YOU RUN IT?
My programs are typically more like loose guidelines than an exact description of what should be drawn. Randomness is carefully worked into many aspects of my programs. So, when I alter a program, I have a pretty good idea of how that's going to change the image, modulo the randomized aspects. Of course, sometimes my mental preview is incorrect, and it's worse (or when lucky, better) than what I expected.
DO YOU HAVE A FINISHED COMPOSITION IN MIND WHEN YOU START?
No. I usually start with a very simple concept to play around with. Maybe an idea about a process, a mood, an old approach to modify, or a combination of multiple techniques. From there I experiment with different approaches, attempting to solve basic visual problems. My use of randomness comes in handy here, occasionally suggesting solutions that I hadn't considered. I may modify and rerun the program several hundred times while developing a work.
IS THIS DRAWN BY HAND?
No, almost 100% of my works are created entirely through custom programming. Notable exceptions include facial features in portraits, or landscape features designed to match a specific location.
WHAT PROGRAMMING LANGUAGE DO YOU USE?
I use Clojure, a Lisp dialect that runs on the JVM. This is a very powerful, but pragmatic language. JVM support means that it's easy to use Processing for basic graphics. Using a Lisp means that I can say a lot with very little code. And, because nobody else has to understand it, it doesn't matter if I write weird code, so the usual Lisp objections don't really matter. Plus, I can drop into Java if I really need to optimize something (which is rare).
HOW DO YOU GET THESE ONTO PAPER?
I generate high resolution images, which are sent to a local fine-art printing company in Austin. They create the prints using a multi-pigment wide format Epson printer. The paper and pigments are archival quality, meaning that the prints are rated to last approximately 200 years. In short, these are extremely nice prints.
HOW LONG DOES IT TAKE YOU TO WRITE AN ART PROGRAM?
It depends. My typical range is probably five to ten hours. Sometimes I get lucky, and something good falls into my lap two hours in. Other times, I may grind it out for twenty to thirty hours.
Of course, I also tend to reuse parts of older programs, even if those works were discarded failures, so it’s hard to say exactly how long any given work took to create.
HOW DID YOU START DOING THIS? WHAT'S YOUR BACKGROUND?
I have a degree in Computer Science, and worked as a professional programmer (specifically, on and around Apache Cassandra, a distributed database). I also have always loved to draw and paint, and studied traditional oil painting and figure drawing. When I began to focus more on artwork, I tried to figure out what unique skills or knowledge I could utilize to make my artwork more interesting. Programming came to mind and I sort of thought, "what if I wrote a program that created a painting?" It turns out that's an interesting question, and one that I'm still investigating.
IS ANYBODY ELSE DOING THIS?
Yes, there are other generative artists out there. In fact, generative artwork started back in the 60's, mostly on early science and military computers. Today, you can find a decent survey of active generative artists on the /r/generative subreddit. It's still a fairly small community.
With that said, I consider my aesthetic approach to be wildly different from other generative artists. I'll leave my work to speak to that subject.
WOULD YOU BE INTERESTED IN (X)?
DO YOU USE PHOTOSHOP?
No. I do create digital paintings for the hand-drawn elements mentioned above (portraits, specific landscapes), but I don't edit or manipulate abstract components with an editor.
DO YOU INCLUDE THE SOURCE CODE WITH PURCHASES?
With my Original and Iteration works, I include a signed printout of the source code as well as a signed certificate. You'll probably be the only person other than me to see the source code, as I don't usually open source my work. I also don't generally polish this code before printing it, so don't judge me. It's more interesting that way.
My Open Edition works do not include the source code.
IS AI GOING TO TAKE OVER ARTWORK?
I don't use AI or machine learning myself (at this time), but I like to follow those who do. I think the most interesting work to be produced in the near future will be humans augmented with AI and ML, using it as tools in their kit. As to whether an advanced AI can really make Art (with a capital A) without human influence, I won't attempt to answer that question definitively.