Examples

Each page below was generated by one command from one image — a different image per page, which is the point. Scroll any of them and the picture arrives on the camera's clock; the copy is paced against the assembly; and every colour is derived from that page's own source and verified for contrast on the final hex values. Nothing here was art-directed by hand.

Three of them assemble from scattered cubes. The fourth is the same command in the kinetic style: the picture is on screen the whole way down, smeared through noise and split into its colour channels until the scroll pulls it into focus. Same engine, same camera, same clock — a different scene.

Put them side by side and the palettes share nothing: a dusk ridgeline gives warm rose on near-black, a circuit board gives cyan on deep navy, a set of flat poster shapes on cream comes back as a light page, and a target of concentric rings gives lime on pine — the scheme is read from the picture, not chosen.

These pages are the tool's untouched output. No ads, no analytics, no site chrome — one external request for three.js, and nothing else.

• Editorial — a dusk ridgeline

  Serif, airy, sparing accent. The voice for photography, essays, and anything that wants to breathe. The masthead lands over noise; the quote waits for the image. Warm rose, derived from the sunset behind it.

• Technical — a routed board

  Mono, gridded, with a live assembly readout in the corner — the HUD reads the same number the camera publishes, so it cannot drift. Cyan on navy, straight off the traces.

• Poster — flat shapes on cream

  Condensed caps and solid accent blocks. The loud voice: every word sits on its own chip, so the type stays legible over peak chaos. The one light page of the four, because its source is light.

• Kinetic — an aperture, resolving

  The second style, on the editorial voice again, so the difference between this page and the first one is the engine and nothing else. Rings and blades run as liquid colour, the channels close as you scroll, and the headline settles a word at a time on the same clock. Lime on pine.

What to look for

• The top of each page is deliberate noise — the masthead holds its own against it because the text never relies on the picture.
• The middle (around 0.5–0.7 of the scroll) is peak chaos, where body copy sits on panels — translucent, but opaque enough to hold their contrast over any frame, which is the one device that survives all of them.
• The end is the payoff: the finished image — tiled seam-free on the three cube pages, resolved to zero distortion on the kinetic one — with the call to action arriving over it.
• Reduced motion: if your OS asks for less motion, the picture is simply there, assembled — the pages honour that preference at the engine level, and nothing on the page can override it.

Start with Cubes or read the Kinetic walkthrough to choose a style and tune its controls.

Want this on your own image? Open the Studio — drop a picture, tune it live, download the page. Or read the documentation for the CLI and the drop-in module.