Size of the wisps. Lower is broader and calmer.

Narrows the band between shadow and haze, sharpening the wisp edges.

How far each noise layer displaces the next. Zero leaves plain fbm.

Fades the layer toward the edges so it melts into what sits underneath.

Opacity of the complete effect, including its background.

A domain-warped haze that reacts to the pointer. Pinned to dpr 1, because a blurred layer under content gains nothing from retina pixels and costs four times as much for them.

Ether Veil

Scales every falloff together, so the blobs grow or tighten without losing their balance.

How gently colour compresses past full brightness. At zero it clips and posterizes.

Breaks up 8-bit banding across the smooth areas.

How far each colour point travels. Zero pins them in place.

A continuously drifting multi-point gradient with dithering to kill 8-bit banding. The cheapest background in the catalog.

Mesh Gradient

Rows of dots when automatic sizing is off.

How strongly dots take the accent colour near the cursor.

Idle size wave, independent of the pointer.

Radius of the pointer's influence, in canvas units.

Fade the background independently for transparent overlays.

A dot matrix that breathes, with a ripple spreading from the cursor. Antialiasing scales with pixel size, so it stays equally crisp at every device pixel ratio.

Dot Grid

Curtains drawn, up to the six the shader carries.

Slow-drifting light curtains with a hard lower edge and a long upward fade. The pointer acts as wind.

Aurora Drift

Controls the size of the three broad liquid modes.

Raises or relaxes the analytic chrome folds.

A restrained chrome surface driven by three analytic stream modes, exact surface derivatives, and a quiet studio reflection rig.

Liquid Chrome

Size of the light web. Lower gives fewer, broader ribbons.

How much the water lightens toward the top.

The web of light a water surface casts below it. Built by folding the field into itself; the pointer sends rings through it.

Caustics

Frequency of the interference. Higher packs more ridges into the frame.

How dark the troughs sit between the ridges.

How far the field rotates around the cursor.

Slowly walks the whole image along the colour ramp.

Organic plasma currents with a smooth, non-repeating flow and local cursor distortion.

Plasma Field

Rotate the main flow of the colour field.

Lifts the gradient toward its highlight under the cursor.

How quickly the stationary grain pattern evolves. Zero freezes it.

A directional editorial colour field under fine film grain that evolves in place without drifting across the canvas.

Grain Gradient

Only the lines that can reach a pixel are evaluated, so this does not change cost much.

In device pixels, so the field stays equally fine at any dpr.

Proportional to the offset itself, so it vanishes at the centre instead of pinching every line to a point.

A field of flowing lines that part around the cursor. Line thickness is measured in pixels, so it stays equally fine at any device pixel ratio.

Line Waves

Lower makes the blobs fatter and merge sooner.

A softer second threshold that keeps the edges from looking like cut vinyl.

Zero removes the cursor from the field entirely.

Blobs that merge as they meet, with the cursor as one of them. Colours blend where the fields overlap instead of one winning.

Metaballs

How hard each pass folds the field. Higher tangles the network.

Attachment stiffness. Zero disables strand capture.

Brightens only the strands under stretch, not the air around the cursor.

Branching filaments that stick to the cursor and spring back once it leaves. Rotating the field between folds is what turns a grid of sines into a network.

Neuro Noise

25 degrees is the classic single-plate angle. Near 0 or 90 the rows align with the pixel grid and moire.

A drifting field printed as dots on a screen rotated 25 degrees. Each dot carries one sampled tone, the way a real halftone cell does.

Halftone

Where the light sits. Fixed — the cursor refracts the shafts instead of carrying the sun.

Glass lens strength. Zero removes the lens; rays transmit and reflect at its surfaces.

How far the shafts carry before falling off.

Volumetric light shafts radiating from the cursor. The beams are angular noise sampled in polar space — a shaft is just a shadow that does not change along its length.

God Rays

Where the spiral sits. Fixed — the cursor bends the arms instead of moving the whole figure.

How far the cursor drags the arms it passes.

Rounded to a whole number: atan2 jumps by 2π on the negative x axis, and only a whole multiplier lands on a full period of the sine. A fraction tears a seam.

Keeps the middle from collapsing into a solid disc where every arm meets.

Logarithmic arms winding out of the cursor. A log spiral is a straight line in (log r, angle) space, so the whole pattern is one sine with no loop.

Spiral

Position the ring without coupling it to the cursor.

Width stays nearly fixed and turbulence modulates density instead — letting churn drive the width ballooned the annulus until the hole closed.

Carves transparent pockets from low-density turbulence.

A fixed torus of rolling smoke for hero marks and halos, with local cursor shear instead of cursor-following motion.

Smoke Ring

How many times the film cycles across the visible angle range.

Rotates which colours land where, without changing the surface.

Constant coverage of interference colour over the flat background.

Soft holographic colour bands over an untextured, single-colour base. No embossed folds or brushed-metal highlights.

Iridescent Foil

How far the cylinder bends what is behind it.

Zero flattens the wall into a plain backdrop.

Per-channel offset — the colour fringing along the steepest parts.

Glass brightens where you see it most steeply, not darkens.

A wall of fluted glass with a scene behind it. The refraction uses a real half-cylinder normal, so the image stretches at the flute edges and passes untouched down each centre.

Glass Flutes

How many tones the field is crushed to. Fewer is more graphic.

At zero the tones band; the threshold is what trades banding for texture.

A smooth field quantised to five levels through a computed 4x4 Bayer matrix. Fixed cell size in device pixels, so the texture never scales with the canvas.

Dither

Space between tiles. Zero closes the lattice into a solid honeycomb.

Slow per-tile breathing, independent of the pointer.

A hex lattice whose tiles light up in a wave from the cursor. The lattice is two rectangular grids offset by half a cell, which beats converting to axial coordinates.

Hex Tiles

An isometric height field with separately lit top and side faces. Procedural elevation recedes into depth while the pointer lifts a local ridge through the terrain.

Iso Grid

Chromatic aberration is only visible on an edge — a soft field shifted three ways still looks like the same soft field.

Grows linearly with distance from the cursor, which stands in for the optical axis.

One field sampled three times, once per channel, with the offsets growing away from the cursor the way a lens fringes toward its edges.

Chromatic Drift

In pixels — the width is scaled by how much world space one pixel covers, so distant lines do not alias.

Moves the vanishing point sideways, turning the whole scene.

A perspective floor running to a horizon under a slitted sun. The floor is a real projection, so the lines crowd correctly toward the vanishing point.

Grid Horizon

Fraction of each cycle spent suspended at full height.

An isometric field of solid blocks moving through a deliberate rise, hold, and fall cycle. A directional phase wave travels across the grid while the pointer lifts nearby cubes.

Rising Cubes

Stars per layer. Higher fills the sky; the cost is one cell lookup either way.

Fraction of cells holding a star. Sky is mostly empty, and skipping the rest is what keeps twenty layers affordable.

Core radius in CSS pixels, independent of screen size and DPR.

Stretches each star along its direction of travel.

Stars streaming past the viewer. Depth is layered rather than marched: each layer is the same hashed grid at a different scale, and shrinking it carries the stars out.

Starfield

A domain-warped ridged terrain rendered as a professional contour study. Stable minor and index lines follow the elevation while the pointer reshapes the land itself.

Topo Lines

A calm perspective ocean with directional swells, a distant horizon and soft sky reflections. Always moving, never cursor-driven.

Ocean Swell

Turns the whole figure. A kaleidoscope that slides around the frame stops reading as one.

One wedge of a simple field, mirrored around a centre. The mirror is the point: folding without it leaves a seam at every segment boundary.

Kaleidoscope

Displaces where the warp is sampled, so the folds gather toward the cursor.

Fine satin weave, soft irregular folds and light that follows the fibers.

Silk Bands

Stretches the tail past the lagging point, so a fast sweep leaves a longer streak.

A glowing head with a tail that lags behind it. Two pointer positions are enough: their gap gives the direction of travel and, through its length, the speed.

Cursor Comet

Layered buoyant smoke, rolling silhouettes and restrained glowing embers.

Ember Smoke

A frosted petal mark lit from within. Frosting jitters the sample position before shading rather than blurring after — a single pass has no neighbours to blur with.

Petal Glass

Rounds the edges so they catch light. A perfectly sharp solid only shows its edges where the background happens to change.

A glass dodecahedron tumbling in front of a gradient, raymarched against a real distance field. The ray enters, crosses the body and refracts again on the way out.

Glass Facets

Used when automatic sizing is off; rows preserve square tiles.

How strongly the near edge grows as the flap turns. At zero it only squashes, and stops reading as rotation.

Off by default: the board lies flat and only the cursor turns the flaps.

A split-flap board: a wave rolls across the grid and each tile turns on its horizontal axis. The turn is a real projection — the edge swinging toward you grows, which is the cue that sells the rotation.

A living index of production-ready shaders.

From reference to interface.

Choose

Tune

Export

Start with a surface. Make it yours.

Aurora Drift

Caustics

Plasma Field

Grain Gradient

Neuro Noise

God Rays

Built for the parts people remember.

Product storytelling

Interface atmosphere

Interactive moments

Tune the system, not just the color.

Source you can ship.

Questions, answered.

Find your next visual system.

A living index of production-ready shaders.

From reference to interface.

Choose

Tune

Export

Start with a surface. Make it yours.

Aurora Drift

Caustics

Plasma Field

Grain Gradient

Neuro Noise

God Rays

Built for the parts people remember.

Product storytelling

Interface atmosphere

Interactive moments

Tune the system, not just the color.

Source you can ship.

Questions, answered.

What does an export include?

Do I need React?

What happens without WebGPU?

Can I use the shaders commercially?

How is performance measured?

Is every shader free?

Find your next visual system.