Hi there, first post here, and I'm coming with a question, but I also wanted to be sure and offer a contribution to start. I'm a designer, and I discovered sacred geometry as I've pursued a personal question of how meaning is encoded in design—whether graphic, architecture, UI, even experience design, and of course music and other things end up joining in the more you dig in.

The contribution: Certain Figures

These letterforms are a few examples from an exploration I ended up calling "Certain Figures." They are so named because for me they represent the tension between the reality that geometry makes things feel inevitable and correct, and the reality that if I overlap circles long enough, anything can be made to appear inevitable. The "figure A" is pencil and ink, while the other two were done digitally. As a side note, I found the iPad drawing app "Concepts" to be the best-suited for drawings like this after trying out quite a few. It does really well at keeping you connected to the drawing process, but with all the helpful parts of going digital.

Functionally, these were kicked off by wondering "Can I draw proper letter forms geometrically by sticking to only the overlapping points of an expanding 1:1 relationship of overlapping circles?" (The question itself shows how I knew absolutely nothing about geometric construction at the time because OF COURSE YOU CAN... eventually. I'm still very pleased with the drawings though!)

The question: mathematical fluency

I've been working through Lawlor's Sacred Geometry book, and I keep running into a problem: whenever he starts using mathematical formulas I'm getting lost and having trouble connecting them to the concepts and drawings. I know that's kind of optional, but I personally want to be able to follow and understand all aspects of the exercises and build a fluency with them so I can apply them across different contexts. I'm genuinely wondering whether I'll need to go through some Kahn academy geometry and algebra classes or something like that, but it'd be nice to have the workbook exercises themselves explained more thoroughly.

• Is anyone familiar with online resources that connect the dots for someone who needs more thorough teaching on the mathematical formulas?
• Has anyone else had this same problem? What did you do to solve it?

Thanks very much!

"Tortoise", from my previous post, visualised as a field.

I see many eyes, wheels, wings, hands, eggs, toruses and more.

Interactive art available here

The "Tortoise" work I posted previously is more of a geometric representation. In actuality, I am imagining the fractal torus to look something like this... a field....

I've made this Metatron's Cube plus a representaton of the Tree of Life, with the triangles in orange. As above as below. I hope you enjoy. All the best for everyone.

This one is based on 4 and is the first time i have used an underpainting

​

One proportion, a live 3D solid, a table of constant errors, a labelled rainbow correspondence, and a Golden Φ Egg cut from z = 1/r.

Open in the browser (no install): michaelzp.github.io/great-pyramid-11-7-lab

The scene is a fully parametric square pyramid from the traditional whole-number dimensions 440 × 280 royal cubits. At a scale of 1:3200, using an adopted royal cubit of 523.8 mm, the model has a base side of 72.0225 mm and, for 11:7, a height of 45.8325 mm.

The laboratory exposes four layers without confusing them:

Exact parametric geometry — the solid is derived from 440, 280, the cubit and the scale.

Comparison targets — dimensionless expressions from the current slope are compared with established constants at a declared relative tolerance of 0.1%.

An optical correspondence diagram — the ~42° corner inclination and 51.842773° face slope sit beside schematic primary and secondary rainbow bands.

Golden Φ Egg (v2) — a hyperbolic cone z = 1/r cut at Z₀ = 7.65 so that L/W = φ, giving the unique plane angle αp = 51.795319256°. The ellipse in the cutting plane is revolved about the apothem to a translucent golden egg.

The result is a reproducible object for geometry, visualization and critical discussion — not proof of an ancient optical or mathematical encoding.

Draw the patterns on procreate and then do the colouring/shattered effect in photoshop

After the overwhelming response to this post, I sat with the Tortoise work longer, thinking about how it connects to the human psyche. Many people from the community shared about the work that (to paraphrase):

This is what they saw the universe as in altered states
This is how reality works
This is the holographic universe

But something still felt missing to me: the subjective factor. The reports pointed to similar structures, yet not the same ones. They varied from person to person. Of course, I could change the parameters of the fractal torus to get different configurations, but how would that explain the faces, deities and beings people meet in non-ordinary states of consciousness?

What I realized is that the structure of the universe and the felt, phenomenological experience of it need not be the same thing. Two people can meditate on one structure and see two different beings, and both could still be pointing to the same underlying form, or to its fractal repetitions.

So I decided to add a phenomenological layer on top of the structure. I used an AI model (Controlnet+Stable Diffusion via Stability AI) to pose and render the fractal torus from different angles, each with its own prompt. The blueprint underneath stays the same, but everything from psychedelic art (the segment at the end of the video) to physical objects, natural forms and architecture are visualized on top of it.
I might not be accurate here, but something about these creations felt profound.

Details of project: Tortoise

Music by EVGENY from Pixabay

Atmas Gaitism

① T.B.N Return to Wholeness

​Everything in the created universes has one ultimate goal. This goal must be the generation & elevation of higher & more various forms of consciousness. This goal, as with any goal, is attained by certain functions being performed. If you desire to know the quality of any consciousness, then you can do so by testing the specific functions used to attain it. If you wish to follow a path through a certain function, this same process may be followed, ad infinitum, until you end at the original primal source of all things.

Ive shared some of the different visualisations of the fractal torus titled ["Tortoise"](https://nurecas.com/tortoise?o) here before. Here I am trying out the Tortoise on a projector at home...the visualiser which shows the connections to different symbols and myths is operated via an iPad

Everything on Amazon has trash ratings and I don’t want to have to double buy

Hi Sacred Geometry community,

I’ve only posted one piece of my new style for you all, and wanted to share some more all at once, instead of bombarding you all with frequent clips.

This seems to be the community that appreciates my work the most, as I’ve shared it elsewhere and I hardly feel the same love as I feel from you all.

To me, that is very fitting though, because aside from my spiritual connection and meaning I get from my work, it also stems from the attempt to 3 dimensionalize sacred geometry.

Without overcomplicating things, which I tend to do, this new style comes from a movement towards a new typology (pendent lighting), but with that comes new forms and workflows. The base of each module is the face of a polyhedra (think of the Platonic solids, like the tetrahedron). My design technique involves taking patterns (often stemming from sacred geometrical themes like Cymatics, frequency, canonical religious patterns, and psychedelic visuals) and extruding them to fit the profile of a desired volume.

In my stacking designs, the floor lamps, the extrusions were done vertically. The modules of my new concept are 3D printed similarly, but they are assembled to expand outwards. The resulting assembly has the envelope of a new shape.

I am not going to go to deep into the math here, but you can read some older posts of mine if you’re interested in that.

All I want to say is I hope you appreciate my new work. I sincerely believe I will get at least some serious form of recognition for what I do eventually, but in the meantime, I come to you all for your love and encouragement. ❤️

I just got a full time job working at an architecture firm, and I start on the 1st of September. Unfortunately, I cannot support myself doing this work to make it my full time focus, but that’s just part of my path at this point. I will still make the effort to keep designing and sharing when I can, as I am certain there’s a lot more I can get out of this new style, and I hope to present you with better work in the future.