by alexgreensh
Art and animation, written as code. Illustrations, loops, interactive web art, launch-videos and scored films in dozens of styles, identical on every render.
# Add to your Claude Code skills
git clone https://github.com/alexgreensh/anidoodleLast scanned: 9/25/2026
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"status": "PASSED",
"scannedAt": "2026-09-25T09:25:41.457Z",
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}See how anidoodle compares with popular alternatives.
anidoodle is an open-source ai agents skill for AI coding assistants such as Claude Code, Codex CLI, and ChatGPT, built by alexgreensh. Art and animation, written as code. Illustrations, loops, interactive web art, launch-videos and scored films in dozens of styles, identical on every render. It has 846 GitHub stars.
Yes. anidoodle passed SkillsLLM's automated security scan — a dependency vulnerability audit plus prompt-injection heuristics — with no high-severity issues. You can read the full report in the Security Report section on this page.
Clone the repository with "git clone https://github.com/alexgreensh/anidoodle" and add it to your Claude Code skills directory (see the Installation section above).
anidoodle is primarily written in TypeScript. It is open-source under alexgreensh on GitHub, so you can review or fork the full source.
Yes. SkillsLLM lists many other AI Agents skills you can browse and compare side by side. Open the AI Agents category from the badge at the top of this page, or use the Related Skills and comparison links further down to weigh anidoodle against similar tools.
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⚠️ Third-Party Software Notice
This skill is third-party open-source software developed and hosted independently on GitHub. SkillsLLM is an informational directory and does not control or maintain the underlying repository.
Any security checks, ratings, or warnings displayed by SkillsLLM are automated and limited in scope. They do not constitute a security certification or guarantee that the software is safe, error-free, or free from malicious code, vulnerabilities, compromised dependencies, or prompt-injection risks.
Review the source code, permissions, dependencies, and configuration before installing or running any third-party skill. Use is at your own risk. To the maximum extent permitted by applicable law, SkillsLLM is not liable for losses arising from third-party software.
https://github.com/user-attachments/assets/1cf7f75c-b040-4c00-bf0c-cf1885f8b8da
Each style is its own way of making a mark: the taper of a nib, the bleed of a wash, the scumble of chalk on slate, the torn edge of cut paper, the halftone of a risograph drum, one engraved line spiralling out to become a moon. The subject changes shape in each hand, the way it would for thirty-one different illustrators. Every style also ships a film of its picture being drawn, mark by mark, in the order an artist in that medium works. Pick one for your brand and every picture after it arrives in the same hand. Every plate above, and the contact sheet itself, is drawn by code in this repo.
| Style | How it's made |
|---|---|
| Ballpoint | One biro; tone from where hatching sits |
| Broken colour | Separate dabs of unmixed colour, impressionist |
| Chalkboard | Side-of-chalk scumble with dust |
| Charcoal erasure | Charcoal drawn, erased and redrawn, ghosts kept |
| Coloured pencil | Directional pencil hatching on toothy cream paper |
| Crayon | Waxy scribble fills that skip the paper's valleys |
| Cut-paper collage | Torn and cut paper, no drawn lines |
| Cyanotype blueprint | Ruling-pen drafting on a cyanotype sheet |
| Embroidery | Thread stitched through linen in a hoop |
| Flat vector | Crisp geometric shapes with grain and long shadows |
| Folk-tale storybook | Painted foreground dissolving into pencil line on cream paper |
| Ink & line-wash | Washes first, then a flexible nib |
| Isometric | A 2:1 isometric cutaway in flat-shaded planes |
| Low-poly 3D | Flat-shaded triangles, drawn in code |
| Marker comic | Flat cel fills and one heavy contour |
| Mid-century gouache | Opaque matte shapes, dry-brush edges, loose line |
| Newsprint halftone | One black screen plus a spot colour on newsprint |
| Painted oil | Bristle strokes and impasto on a toned canvas |
| Paper-craft | Layered cut paper and painted cut-outs, on twos |
| Pencil & watercolour | Washes that never quite fill their pencil line |
| Pixel art | A fixed 16-colour palette on a low-res grid |
| Risograph | Ink drums overprinting through registration |
| Rubber-hose | 1930s cartoon ink with bendy limbs and film grain |
| Scratchboard | White lines scratched out of black clay |
| Single-line engraving | One unbroken spiral whose width is the tone |
| Stipple | Pen dots whose density is the tone |
| Storybook | Pencil and watercolour for characters |
| Sumi-e | One loaded brush on absorbent paper |
| Toy brick | Studded plastic bricks, built layer by layer |
| Vintage scrapbook | Engravings, cut-letter titles and taped cards on aged paper |
| Woodcut / ukiyo-e | A carved keyblock and colour blocks on washi |
Every style ships the finished picture and, from the same source, a film of it being made in the order an artist in that medium works. Watercolour lays in pencil, then washes light to dark. A woodblock prints the keyblock, then each colour block. Pixel art blocks in flat shapes, then shades clusters. Nothing fades in: every stroke grows, every wash spreads from where the brush touched, and the film's last frame is the still, pixel for pixel. It is the timelapse, the making-of and the explainer diagram in one.
The notes are written as data and the engine makes the sound. Nothing in this repository is a recording. A music style is a vocabulary the model composes from, never a preset: 21 of them, from lo-fi electronic, house and synthwave to orchestral, jazz, folk and solo piano. Each gives the sound, the grooves and the harmony language; the chords, the motif and the form are written new, so every film gets its own score.
Install the optional sound pack and eight acoustic instruments play recordings of real ones: a Steinway grand and an upright, concert harp, marimba, vibraphone, glockenspiel, tubular bells and timpani, in three recorded rooms. Synths, lo-fi colour, electronic drums and sound effects stay in code. Without the pack every score still plays, unchanged.
node <skill>/engine/tools/soundfetch.mjs list # the install directory and what is installed
node <skill>/engine/tools/soundfetch.mjs get all # download (373 MB), verify by hash, unpack; your agent asks you first
node tools/music.mjs check clears a score before anyone listens: key and mode, loudness, masking, the balance of every part, and novelty, which fails a score that sounds like a known one or quotes it.
| Listen | |
|---|---|
| A nocturne in A-flat | 45 s, piano: it builds, peaks, then falls to a hush |
| The piano, played · the same notes, played flat | the difference is the performance: voicing, phrasing, pedal |
| Cinematic, awe · Lo-fi · Marimba · Electronic | more moods and instruments |
| The nocturne's theme in 15 seconds | the composer picks the form that fits the length |
Also in the box: a sound-effects kit, fourteen layered, seeded effects cued to the exact frame, the score ducking under each one (sound design). How a score is composed: compose.md · every vocabulary.
Interactive illustrations for real sites: a mascot that follows the cursor and reacts to buttons, a hero that draws itself as the page scrolls, a form companion that covers its eyes at the password field. One small ES module and a <ani-doodle> element, no framework, with reduced-motion and keyboard paths. Each frame is still a fact, given the input that led to it.
The film at the top of this page was made with anidoodle, and the kit it was made with ships with it. launch.mjs new <name> gives you a spec to fill: your product's name, the prompts a user would type, the answers (a drawn picture, your product's own screens, or a film), a few words and your install lines. It cuts a launc