Processing: Creative Coding and Computational Art

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CONTENTS Typography . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 737 PFont . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 737 Loading & Displaying . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 738 Attributes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 740 Metrics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 740 Math . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 740 Bitwise Operators . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 741 Calculation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 741 Trigonometry . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 742 Random . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 742 Constants . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 743 Processing libraries . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 743 Appendix B: Math Reference . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 747 Algebra . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 748 Adding negative numbers. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 748 Subtracting negative numbers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 748 Multiplying negative numbers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 748 Dividing by zero . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 748 Multiplying fractions. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 748 Adding fractions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 749 Dividing fractions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 749 Working with negative exponents . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 749 Understanding the exponential-logarithm relationship (they’re inverse). . . . . . . . 750 Understanding the relationship between radicals and fractional exponents . . . . . . 750 Multiplying and dividing exponents . . . . . . . . . . . . . . . . . . . . . . . . . . . . 750 Geometry . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 751 Pythagorean theorem . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 752 Distance formula. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 752 Area of a triangle . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 752 Area of a rectangle . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 752 Area of a parallelogram . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 753 Area of a trapezoid . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 753 Perimeter of a rectangle . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 754 Area of a circle. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 754 Circumference of a circle . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 754 Area of any non-intersecting polygon . . . . . . . . . . . . . . . . . . . . . . . . . . . 754 Trigonometry . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 755 Bitwise Operations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 760 Semiconductors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 761 Color data structure . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 762 Bitwise operations to the rescue . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 763 Shifting bits. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 763 Bitwise operators . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 767 Putting it all together . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 769 Index . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 775 xiii
FOREWORD If you are like me (and the fact that you are holding a Processing book in your hands indicates there’s a fair chance that you are), then a quick flip through the pages of this book, glancing at the many illustrations, should be enough to set your heart beating just a little bit faster, and start seeds of ideas sprouting in your head. Processing is a richly visual language, which is pretty obvious if you’ve performed the aforementioned page flipping. It has its roots in a language called Design by Numbers, developed by Professor John Maeda at MIT, and was in fact created by two of Maeda’s students, Ben Fry and Casey Reas. Whereas most languages are built to create serious applications, Processing almost seems to have been created to just have fun with. The language has been used to create various data visualization and installation art pieces, but most often you just see people playing with it, creating complex and beautiful pictures and animations. As a matter of fact, you don’t even make Processing applications; you make sketches—which go in your sketchbook. This aspect of the language has drawn many creative coders who blur the boundaries between programming and art. Many like to draw a comparison between Processing and Adobe (née Macromedia) Flash, a commercial program often used to create graphically rich, often purely experimental animations using ActionScript, an easy-to-learn programming language. Indeed, many of the people using Processing started out programming in Flash, and switched to take advantage of the superior speed and performance, additional commands, and flexibility of Processing. Although Flash has gained a lot over the years in terms of performance and capabilities, Processing remains the tool of choice for many artist-coders. Processing has grown quite a bit over the years. It’s an evolving language, added onto by various plug-ins and contributions from a dedicated community. It’s deceivingly simple, allowing you to get started quickly, but it provides an incredible amount of depth for those who care to peek beneath the surface. Although there are various online resources, Processing has lacked a printed book of any sort. This book fills that gap, and then some. In the tradition of the language, this book covers both the artistic and the programming aspects of Processing. And if you are stronger on the art side than the code side, fear not. The author leads you into it gently, giving you just
Page 1 and 2: IrA GreenberG CreATe CoDe ArT, vIsu
Page 3 and 4: Processing: Creative Coding and Com
Page 5 and 6: CONTENTS AT A GLANCE Foreword . . .
Page 7 and 8: CONTENTS Foreword . . . . . . . . .
Page 9 and 10: CONTENTS viii The joy of math . . .
Page 11 and 12: CONTENTS x Applying OOP to shape cr
Page 13: CONTENTS xii Environment . . . . .
Page 17 and 18: ABOUT THE AUTHOR With an eclectic b
Page 19 and 20: ACKNOWLEDGMENTS I am very fortunate
Page 21 and 22: INTRODUCTION Welcome to Processing:
Page 23 and 24: INTRODUCTION xxii Intended audience
Page 25 and 26: INTRODUCTION xxiv Setting up Proces
Page 27 and 28: INTRODUCTION xxvi Hopefully by now
Page 29 and 30: INTRODUCTION xxviii Figure 3. Scree
Page 31 and 32: INTRODUCTION xxx New or changed cod
Page 34 and 35: 1 CODE ART
Page 36 and 37: The problem with a Photoshop filter
Page 38 and 39: Figure 1-3. Example of ancient art
Page 40 and 41: then jump 400 years to 1614 and Joh
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Page 44 and 45: As an aside, it’s worth observing
Page 46 and 47: John Whitney Sr., 1918-1995 John Wh
Page 48 and 49: algorithms. To learn more about Coh
Page 50 and 51: landfill/), and Feed (www.potatolan
Page 52 and 53: periodicals such as Art Journal, Wi
Page 54 and 55: And many more . . . While I have in
Page 58 and 59: 2 CREATIVE CODING
Page 60 and 61: I think what was reinforced for me
Page 62 and 63: customized commands, and run loops.
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of code that work like processing m
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introduced to become larger, more c
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Without getting too geeky, the main
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A framework is just a concept for b
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algorithm in a math class in high s
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frame. The loop keeps running and k
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the time to play at whatever level
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} pts[counter2].y-yg); xg*=-1; coun
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The overall movement was good, but
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Obviously, there are a lot of thing
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} } // generates organic looking br
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3 CODE GRAMMAR 101
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Your first program In most programm
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message comes up on the bar in the
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Since the getBreed() method would r
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Variables Variables are essential t
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It’s because strict typing helps
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Stage 3 adds the gradient: /* title
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Next, I assign values to some primi
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In the first preceding example, add
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Assignment operators The only other
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* title: Bouncing Ball description:
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Animation is a perfect example of t
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if (hunger= starving) { eatAnything
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Ternary operator The last condition
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The items array has 50 places reser
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println(x); x += 1; } while(x
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Figure 3-4. Continuous radial gradi
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int ballCount = 500; int ballSize =
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Hopefully, you were able to success
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function call above*/ // fill(i*255
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If you run this, you should see a 1
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yspeed*=-1; } } Within the draw() f
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void checkCollisions(int xp, int yp
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createRect(50, 50, 100, 100, 20, 5,
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4 COMPUTER GRAPHICS, THE FUN, EASY
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Some of the reasons coding graphics
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When working in a 3D coordinate sys
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plotted, the vertices are connected
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eally shines. And remember, as you
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need to be stored in memory, and th
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Within each of these application ar
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don’t realize you’re doing it
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Geometry Like algebra, geometry dat
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(second-degree) curve has one turni
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or possibly even a complete crash o
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This linear motion would plot as a
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and began doubling. By step 80, the
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*Simple Repeating Wave Pattern Ira
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float waveGap = 10; float frequency
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a piece of paper and do a little mo
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Interactivity Figure 4-13. Puff Peo
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Events will be covered and implemen
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PROCESSING: CREATIVE CODING AND COM
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6 LINES
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Figure 6-2. Two-point sketch Adding
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Streamlining the sketch with a whil
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type into the sketch. Although the
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Figure 6-7. Randomized particle spr
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Figure 6-9. Multiple randomized par
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Coding a grid To begin, I’ll show
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Notice that you can make the value
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float steps = totalPts+1; int total
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Creating space through fades Your l
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for (int j=0; j
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Figure 6-19. Yin Yang Fade sketch,
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coordinates of the line. For exampl
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Figure 6-24. End cap variation exam
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Figure 6-25. Auto Layout sketch Thi
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int xPadding = 150; int yPadding =
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Figure 6-27. Table Layout II sketch
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for (int i=0; i
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This is the same drawTable() functi
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easy. The benefit of internally rec
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I call my custom function makeRect(
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As you might suspect, anti-aliasing
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call scribble function strokeWeight
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else { } // extra line needed to at
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smooth(); float x = random(width);
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Figure 6-36. Concentric Maze sketch
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void setup(){ //these values can be
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Create a Triangle size(400, 400); b
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Figure 6-39. Create 3 Triangles ske
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Poly Pattern I (table structure) /*
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Poly Pattern II (spiral) /* Poly Pa
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Poly Pattern III (polystar) /* Poly
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Figure 6-46. Poly Pattern III (poly
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7 CURVES
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size(200, 200); background(255); in
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You should notice some familiar str
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int margin = height/15; strokeWeigh
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Figure 7-8. Revealing the points ma
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* Curves II Ira Greenberg, December
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lower particle speed ySpeed[i]*=gra
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Figure 7-11. Curves simulating a fo
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Figure 7-13. Damping effect on curv
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particle style strokeWeight(strokeS
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By using functions to organize a pr
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for (int i=0; i
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Figure 7-18. Generating a curve wit
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float x = 0, y = 0; int loopLimit =
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concentric circles size(200, 200);
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Pie charts, although valuable as vi
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curve() and bezier() The next two P
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Next is an interactive example that
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Figure 7-27. Interpolating a Bézie
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ezier(350, 100, 400, 150, 350, 250,
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Figure 7-30. Spline curve using Pro
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curve segments noFill(); // comment
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control handles fill(255); ellipse(
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Figure 7-32. bezier() vs. bezierVer
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curveVertex(92+x, 15); curveVertex(
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strokeWeight(.75); stroke(0); rectM
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Figure 7-35. Bézier Ellipse sketch
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I included one last example (shown
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curveTightness(tightness); beginSha
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Summary Curves, and the math behind
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10 COLOR AND IMAGING
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left squares fill(255, 120, 0); rec
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the color. Up to this point in the
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} radius*=ratio; ratio-=.1; } } els
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Figure 10-4. Alpha sketch In this e
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A quick review of creating transfor
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* Nematode - stage 1 Ira Greenberg,
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Figure 10-8. Nematode sketch (stage
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Figure 10-9. Finished Nematode sket
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the decreasing wavelengths of the i
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values, just to illustrate the poss
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lerpColor() uses the same approach
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I want to mention two final points
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column for (int i=x; i
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needs to be increased, as radius in
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Figure 10-19. Wave Gradient sketch
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for (int i=0; i
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Figure 10-23. Load an Image sketch
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The image() function has an extra f
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In the last example, I created an a
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Figure 10-27. Simple Image Encrypti
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Figure 10-28. Pixilate sketch The n
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Figure 10-30. Tint sketch Speeding
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* Tint (using bitwise operations) C
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the book that a primitive type is d
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The mask works like an alpha channe
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ect(random(width), random(height),
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This last sketch couldn’t be simp
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separate out and invert component c
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Figure 10-39. GRAY Filter sketch Th
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adius is set high, the blurring can
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lend() PImage Method sketch // both
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Figure 10-45. blend() Function with
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The next sketch utilizes some for l
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In the last example, I used Process
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Inheritance In OOP, inheritance des
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AXIS_VERTICAL from outside the Grad
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y axis if(axis == AXIS_VERTICAL){ f
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calculate differences between color
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c7 = color(0); c8 = color(255); r1
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In the “Imaging” section, you d
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12 INTERACTIVITY
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} public void mouseClicked(MouseEve
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void setup(){ size(400, 400); // in
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initialize x, y x = width/2.0; y =
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float friction = .85; float[]jitter
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nodeYPos = append(nodeYPos, mouseY)
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As usual, I declare global variable
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are filled with black. Using the in
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} } } } } // bottom display window
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color btnUpState = color(200, 200,
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float xSpeed = 0; color movingSquar
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xSpeed-=.2; btn1Background = btnDow
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mouse trails if (isTrailable){ fill
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isTrailsSelected, which changes the
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shapes. The following example, in s
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set initial button background color
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also makes the code a little harder
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stroke(200); rect(eraserBtn[0], era
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} sliderValue = (sliderHandle[0]-sl
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if (!isBrushSelected){ if (mouseX>b
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selection can be active at a time.
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ectBackground = color(255, 0, 0); }
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is smaller (vertically) than the en
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keys 2-8 control number of edges fo
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strokeWeight(strokeWt); float angle
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Summary We began this chapter compa
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A PROCESSING LANGUAGE API
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http://processing.org/. My main obj
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its binary equivalent. I used some
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part of the article as well. My sug
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Example 1: A Java approach void set
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The combination of these two struct
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Example 3: Creating a honeycomb gra
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Conditionals Conditionals and the r
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Shape // top and bottom boundaries
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You’ll notice that by default, th
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start dragging if flag true for (in
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pushMatrix(); rotateY(-frameCount*P
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egular polygon size(400, 400); smoo
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texture(images[3]); vertex(w, -h/2,
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lots of arrays float[]x = new float
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Keyboard Figure A-9. Box Springs sk
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entering CMD). When using a command
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hour hand strokeWeight(2); stroke(5
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In the next example, I use beginRec
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Transformations include moving, sca
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float ang; int rows = 20; int cols
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vertex(-w/2 + shiftX, -h/2 + shiftY
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Lights The Lights section includes
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system, you can try lowering the re
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ankAngle+=bankSpeed; vert = -600 +z
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Setting The Setting section include
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ellipseMode(CORNER); fill(200, 200,
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of this part of the API. These myst
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Image The Image section relates ver
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Loading & Displaying The Loading &
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these elements is the creation of a
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Typography Processing utilizes mult
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This will output a list of all the
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“Operators” will hopefully soun
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The noise() function is an advanced
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B MATH REFERENCE
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After multiplying, you can reduce t
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Here’s an example: When dividing,
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Figure B-1. Using a right triangle
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Here’s how the process works: pic
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In Figure B-5, the point p is at 45
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ect (px, py, 5, 5); stroke(100); li
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manipulation is one area in which b
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the number, as shown in the followi
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Here’s the output: c1 in binary =
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This sketch outputs the following:
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I’m not going to provide examples
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simple-looking paint bucket tool in
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Figure B-7. Color variations filter
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INDEX 776 SYMBOLS AND NUMERICS /* a
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INDEX 778 beginShape function, 209
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INDEX 780 clipping planes, frustum,
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INDEX 782 naming conventions/rules,
Page 815 and 816:
INDEX 784 functions, 440 loadPixels
Page 817 and 818:
INDEX 786 filter function, 452-459
Page 819 and 820:
INDEX 788 minute, 708 modelX/modelY
Page 821 and 822:
INDEX 790 H haptics, 108 has-a rela
Page 823 and 824:
INDEX 792 MouseListener interface,
Page 825 and 826:
INDEX 794 M Mac keyboard shortcuts,
Page 827 and 828:
INDEX 796 classes, 304, 321 constan
Page 829 and 830:
INDEX 798 coding in 3D, 616 mapping
Page 831 and 832:
INDEX 800 procedures see functions
Page 833 and 834:
INDEX 802 Hybrid Shape, 366, 368 Hy
Page 835 and 836:
INDEX 804 radians, converting betwe
Page 837 and 838:
INDEX 806 Nematode sketch, 411, 413
Page 839 and 840:
INDEX 808 text Orbiting Text sketch
Page 841:
INDEX 810 VERY_HIGH option, encrypt
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Processing: Creative Coding and Computational Art

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