Generative art projects
Notable gen art pursuits
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Notable gen art pursuits
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We survey two pure generative art projects and one generative AI project:
is the first on-chain generative art project on the Ethereum blockchain. An NFT is said to be on-chain if both metadata and file of the referenced asset are fully stored on a blockchain within some record of a transaction, and not archived on a decentralized file system like IPFS.
The project was created in 2019 by Matt Hall and John Watkinson from , the creators of the even more popular profile picture project (PFP) , that was the inspiration for the ERC-721 standard that powers most digital art and collectibles. In 2022 was acquired by , the creators of another popular PFP, the .
It is a collection of 512 glyphs made by few characters, hence a form of ASCII art, originally minted by anyone who was willing to donate the creation fee of 0.2 ETH (around $35 at the time) to the climate charity . Each symbol in the output corresponds to a cell, and the final artwork consists of 64x64 cells arranged in a square grid.
Autoglyphs is a highly optimized generative algorithm capable of creating billions of unique artworks, wrapped inside an ERC-721 interface. The key feature of autoglyphs is that the art is inside the contract itself, it is literally art on the blockchain.
The idea becomes the machine that produces the art. Sol LeWitt
At the core of the installation is a real-time generative algorithm, displayed on a screen as a continuously evolving black line that dynamically shifts and transforms. The algorithm generates an endless stream of potential artworks, each unique and never repeating.
Visitors can actively participate in the artistic process: by inserting a €1 coin, they trigger a pen plotter, connected to an Arduino board, that physically draws the digital artwork onto a sheet of paper. This mechanical process translates the ephemeral nature of the digital display into a permanent, tangible piece.
Generative Art 1€ is currently on display at Intelligence, it's automatic at Zebrastraat in Ghent, Belgium, until June 8, 2025.
Generative Art 1€ challenges traditional ideas about art ownership, accessibility, and value. By setting the price at just one euro, Niklas Roy questions how digital art is valued and perceived. The installation also makes generative art more accessible, allowing anyone to own a piece of algorithmic creativity without requiring technical expertise or significant financial investment.
The project also plays with the idea of human-machine collaboration in art. While the algorithm generates the image, and the plotter executes the drawing, it is ultimately the visitor/collector who decides to mint the artwork—similar to the logic behind long-form generative art, but with a fully analog execution.
This collaboration is intended to provide a new way to mint NFTs that celebrates emergence, unpredictability, and happenstance over forced rarity.
We want to encourage collectors to explore the edges of the algorithm, play a role in the output, and take agency to become a co-creator. We want collectors to view their engagement as an adventure and make a creative contribution to the art.
Adding a curation step by the collector also allows the generative algorithm to take more risks and explore a more interesting potential output space. We trust collectors to seek out and identify the truly special outputs that emerge. With this approach, the collector is now the curator. Tyler Hobbs and Dandelion Wist Mané
The details of the project are as follows:
anyone can play with the algorithm by setting traits on a dashboard and running the generator to generate (1, 10, or 100) QQLs
you can create QQLs borrowing the traits of another QQL
by connecting your wallet you can save the best QQLs you generated as favorites
the creator’s address is used as part of the seed that guides all of the randomness internal to the algorithm. This means your outputs most likely will be different from those of other users
you can list the seed of a QQL you created for sale on the marketplace. It can be used to mint a QQL with a mint pass
the address that is embedded in the seed for a minted QQL will receive a 2% royalty on secondary market sales of that QQL. This is usually the address of the minter, but can be also the address of the creator that sold the seed
the QQL project is on-chain in the following sense: all of the QQLs will be fully reproducible from the QQL algorithm, which is written in p5.js language and stored on the Ethereum blockchain
the word QQL means nothing (it was generated randomly)
The human participation is what completes Botto as an artist.
The selected artworks are not yet considered final works, they are called fragments as they are still unproven. The community tells Botto what it considers art, and Botto perpetually evolves from the feedback.
Botto uses voting feedback in these places:
text prompts
taste model
artwork descriptions
Each user can cast votes on fragments using voting points (VP) assigned to their Ethereum address. VP are assigned to users as follows:
connecting their wallet to the Botto app (100 VPs each week/round)
providing liquidity to the Botto-ETH pool on Uniswap and staking the LP tokens on Botto protocol (1 LP token = 200 VPs)
40% of the total revenue is distributed among contributors proportionally to voting points spent out
40% is held in the treasury
20% is commited to the liquidity pool
Members must be staking a minimum of 100 BOTTO tokens in order to be eligible for revenue distribution.
The Botto project integrates some decentralized finance applications:
staking: Botto token can be staked onto the protocol in order to gain sale rewards in ETH as well as voting points (1 staked token = 1 VP)
liquidity pool: users can provide funds to the Botto-ETH liquidity pool on Uniswap, obtaining an interest at a variable rate from the Uniswap protocol. Alternatively, the LP tokens can be staked onto the Botto protocol generating an interest paid in Botto tokens (this is technically called farming) as well as gaining voting points (1 staked LP token = 200 VPs)
staked funds can be unstaked at any time, and rewards can be claimed at any time (paying transaction fees)
This becomes clear if you examine any glyph creation transaction on the blockchain. The event data contains the full of the generator, and hence the artwork itself. See here for an for autoglyphs #1. This is also the output of the tokenURI function of the , which typically points to the off-chain metadata in off-chain NFTs.
The character art pattern can be drawn on paper, on a screen, or even by following the in the comments of the smart contract itself. This recalls 's Wall Drawings, a hand-drawn analog generative art project.
Autoglyphs have a on OpenSea and sales are announced by a .
is an interactive installation by artist and engineer Niklas Roy, blending technology, automation, and participatory art. The project transforms digital generative art into physical drawings, allowing visitors to purchase unique, algorithmically created artworks for just one euro.
To ensure authenticity, each drawing is labeled with a unique seed number—the value used by the algorithm to generate that specific image, which is —and stamped with a custom mark, certifying it as an original, one-of-a-kind work.
is an unbounded-form generative art project by Tyler Hobbs - a visual artist who works primarily with algorithms, plotters, and paint - and Dandelion Wist Mané - a dancer, engineer, entrepreneur, and generative artist.
you need a mint pass to tokenize a QQL on the blockchain as NFT. There are 999 mint passes, some of them still available for purchase in the secondary market. Minting will be open indefinitely
generated QQLs are for personal, non-commercial use only. In particular, you do not own them, you cannot tokenize and sell them. On the contrary, if you bought a mint pass and minted a QQL, you own the minted QQL NFT and can list it for sale. In both cases, you do not own intellectual property ownership rights over the QQL. Read the for more
is a decentralized autonomous artist. It creates works of art based on collective feedback from the community.
Botto’s has been trained on millions of images. From that latent space it creates new unique images every week, all untouched by human hands. Botto is a combination of AI algorithms, including Stable Diffusion for image generation and GPT for text generation, plus a number of custom augmentations. Botto controls itself: it makes its own prompts, does its own filtering of images, and writes the artwork descriptions. Though, Botto is still dependent on others for many things, such as getting feedback to tune its aesthetics, adding new generative models, producing exhibitions and collaborating with other artists.
Each week, Botto presents promising pieces for consideration by the . Every week Botto's taste model selects 350 fragments from a growing pool of what is probably by now 3 million fragments. It adds these 350 fragments to the voting pool which is always 1050 fragments in size. This means that every week the 350 fragments from the pool which have the lowest number of votes will get culled and will end up in the discarded bin.
holding and staking the on the Botto protocol (1 staked token = 1 VP)
Each week, the most popular fragment is minted as a final artwork on marketplace on Ethereum and sold at auction. Every week:
There exists an ongoing experiment called with the aim of teaching Botto how to code generative art in p5.js. Users can like or dislike the outcomes or add feedback in natural language (such as “this sketch is cool but add more vibrant colors and slow down the pace of movement”). All feedback is used by Botto's generative engine to improve its outcomes.
A selection of 22 artworks has been auctioned on gallery on February 2025.
Quasimondo, aka , designed Botto’s art engine based on a white paper he wrote back in 2018. Mario Klingemann is a renowned artist and a pioneer in the field of neural networks, generative art, and machine learning.
