Signal · Interpretation · Output 
#  Pixels to Poetry
Every photograph is a field of frozen light. Every vector drawing is a poem written in mathematics. Between them lies an act of translation as ancient as art itself. 
[Play with Light ☞](https://vexy-lines.webflow.io/lines/#mini-app) [Try Vexy Lines ☞](https://vexy-lines.webflow.io/lines/#buy)
🙕 🙗 🙔 
Chapter One
## The Signal
Before there is art, there is data. Before there is meaning, there is measurement. 
Qt SVG Document Generated with Qt
A photograph is not what it appears to be. Strip away the sentiment, the memory, the human gaze — and what remains is a grid. Rows and columns of luminance values. A cartography of photons that struck a sensor at a precise moment in time. Each pixel is a coordinate, a census of light. 
Consider: a single 4000×3000 image contains twelve million discrete measurements. Each one records a color — a precise ratio of red to green to blue, a frequency spectrum collapsed into three numbers. This is the signal. Not the sunset, not the face, not the city at dusk — but the raw electromagnetic record that made those things visible to a machine. 
Qt SVG Document Generated with Qt
The philosopher Walter Benjamin wrote about the "aura" of original artworks — their presence in time and space. A digital photograph has no aura in Benjamin's sense. It is infinitely reproducible, perfectly identical. And yet — the signal it carries is unique. No two exposures capture the same field of light. 
This paradox — infinite copies of an unrepeatable moment — is where the transformation begins. 
> Mathematics is the language in which God has written the universe. But art is the dialect in which we reply. 
> On the nature of algorithmic interpretation
Chapter Two
## The Interpretation
Twelve algorithms look at the same photograph. Twelve entirely different poems emerge. 
This is the miracle at the heart of Vexy Lines: the same input — the same grid of luminance — passed through different mathematical lenses, produces artwork that feels as if it were made by twelve different hands. Not because the algorithms are imprecise, but because each one embodies a distinct philosophy of seeing. 
#### The Structuralists
Parallel and Crosshatch impose order. They see the image as a field to be measured, ruled, inscribed with the regularity of rainfall. Every value mapped to spacing. Every gradient to density.
#### The Expressionists
Scribble and Fractal reject straight lines. They read the signal the way a jazz musician reads sheet music — as a starting point, not a destination. The gesture matters more than the grid.
#### The Antiquarians
Engraving and Woodcut carry the memory of copper plates and carved blocks. Every line honours a tradition stretching back to Dürer, every groove a conversation with centuries of printmakers.
#### The Pointillists
Stipple and Halftone dissolve form into particles. They understand that from sufficient distance, a cloud of dots becomes a face, a landscape, a universe — patience made visible.
#### The Cartographers
Contour traces the topography of light as if the photograph were terrain. Each line follows an elevation of luminance, mapping brightness the way surveyors map mountains.
#### The Rebels
Linocut and Mezzotint embrace the accident. The gouge slips, the rocker leaves unexpected texture — and in that imperfection, something more human emerges than any algorithm intended.
#### The Architects
Wireframe strips the image to its skeleton — pure geometry, no ornament. It sees edges where others see surfaces, structure where others see shade.
#### The Weavers
At their most intricate, these algorithms produce textures indistinguishable from woven cloth. Thread by thread, stroke by stroke, complexity emerges from the simplest repeated rules.
Then there are the historians — Engraving, Woodcut, Linocut, Mezzotint — algorithms that carry the DNA of centuries-old printmaking traditions. They don't merely process the signal. They remember. Each line, each stipple, each carved groove echoes a hand that held a burin three hundred years ago. 
Contour reads topography. Halftone speaks the language of mass media. Wireframe strips everything to skeleton. And Stipple — patient, contemplative Stipple — builds meaning one dot at a time, like a pointillist standing very close to eternity. 
> An algorithm does not see beauty. It follows rules. And yet — the beauty that emerges from rules faithfully followed is indistinguishable from intention. 
> On emergence in computational aesthetics across all possible problems
Begin the Transformation 
###  See your photographs become poetry 
Upload an image and watch twelve algorithms interpret the light in twelve different ways. 
[Play Now ☞](https://vexy-lines.webflow.io/lines/#mini-app) [Try Free](https://vexy-lines.webflow.io/lines/#buy)
Chapter Three
## The Output
The vector drawing is not a copy of the photograph. It is a response to it. 
When a contour algorithm traces the luminance boundaries of a portrait, it creates something that never existed in the original image: a line. Photographs have no lines. They have gradients, transitions, edges that blur at the subpixel level. The line is an invention — the algorithm's assertion that _here_ , at this threshold of brightness, a boundary deserves to be named. 
> To scale a photograph is to stretch its truth until it blurs. To scale a vector is to discover that truth was never bound by size at all. 
> On resolution independence as philosophical freedom
This act of naming is what makes the output art rather than data. The original photograph recorded everything the lens could see. The vector drawing chooses what matters. It editorializes. It argues. It says: this edge, not that one. This density, not that one. This rhythm of marks is what this image _means_. 
The resulting SVG is mathematically perfect and infinitely scalable. It can be printed at the size of a postage stamp or a building facade, and every curve, every stipple, every crosshatch will remain sharp. The photograph was bound by its resolution. The poem has no such limitation. 
The Twelve Voices 
##  The Palette 
Each fill is a way of seeing. Each algorithm, a different poet reading the same landscape. 
01
Parallel
Steady lines like rain on still water — order at its most serene 
02
Crosshatch
Woven shadows, a loom of intersecting marks building depth from nothing 
03
Stipple
Patience made visible — each dot a whispered syllable of light 
04
Contour
Following the terrain of brightness as a river follows gravity 
05
Engraving
The burin's memory — centuries of craft compressed into algorithm 
06
Woodcut
Bold and unapologetic — carved from the grain of digital wood 
07
Scribble
The nervous energy of a hand that cannot stop moving across the page 
08
Linocut
Soft resistance — the gentleness of blade through linoleum, remembered 
09
Mezzotint
Darkness first, then light is carved away — an inversion of drawing 
10
Fractal
Self-similar at every scale — mathematics dreaming of coastlines 
11
Halftone
The language of mass printing — Warhol's ghost in every dot 
12
Wireframe
The skeleton revealed — structure stripped to its essential geometry 
> We do not convert photographs into vectors. We translate light into language. The photograph speaks in photons. The vector replies in curves. Between them, something like understanding occurs. 
> On the poetics of raster-to-vector conversion
🙑 🙖 🙒 
The Poem Awaits 
### Transform your signal into art
Twelve algorithms. Infinite interpretations. Your photographs have stories they haven't told yet. 
[Start Creating ☞](https://vexy-lines.webflow.io/lines/#mini-app) [Try Free](https://vexy-lines.webflow.io/lines/#buy)
##### Improve images
##### Create & edit fonts
##### Convert & fix fonts
##### Purchase Options
##### Support
##### Social & News
##### Fontlab Ltd.
Copyright © 2015–2026 by Fontlab Ltd. All Rights Reserved. 
