Processing: Creative Coding and Computational Art

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Figure 1-3. Example of ancient art of Kolam, southern India, 1970s Figure 1-4. Tibetan monks making a temporary “sand mandala” in the Kitzbühel City Hall, Austria CODE ART 7 1
PROCESSING: CREATIVE CODING AND COMPUTATIONAL ART 8 Renaissance biographer Giorgio Vasari tells us that the Florentine architect Filippo Brunelleschi (1337–1446) took up painting to apply his newly developed theory of perspective, based upon Greek geometry. Additionally, other major Renaissance painters including Piero della Francesca, Albrecht Dürer, and Leonardo da Vinci not only experimented and applied principles of geometry in their work, but published treatises on mathematics. Dürer even developed several drawing machines that could be used to teach perspective. Especially during the European Renaissance, the division separating art and science blurred to the point that many of its greatest practitioners made nearly equal contributions to each. Interestingly (or maybe sadly), it may be one of the unique aspects of our contemporary culture that the need for professional hyperspecialization has made left-/right-brain integration more difficult and rare. The amount of training and specialized information we each feel we need to develop “competency,” and ultimately, success, in our fields forces a vocational myopia, which then reinforces many of our erroneous assumptions: “I’m not good at math,” “I can’t draw,” and so on. The situation isn’t helped when we create totally inscrutable private vocabularies around our fields (especially the most technical ones), making them practically inaccessible to outsiders. This is certainly the case in computing, and especially programming. I think one of John Maeda’s hopes in creating the Aesthetics + Computation group at MIT, and the reason he created the programming language Design by Numbers (DBN; the precursor to Processing), was to reveal the aesthetic beauty and power of computation (and math) to artists and designers. By using a really simplified programming language and approaching programming instruction in a straightforward and creatively centered way, he hoped artists would feel free to begin to express themselves through this fascinating medium and challenge some of their unproductive assumptions (such as “artists don’t do math”). I think Maeda believes, as I do, that the core expressive element of computing is not at the software application level, using sliders, spinners, dialog boxes, and filters; but at the lower level of computation, most accessible through direct programming. I like to think of programming as the material level of computing, the place to get, at least metaphorically, your hands dirty. Casey Reas and Ben Fry, Maeda’s students, understood this vision and built Processing as an extension of (or at least homage to) DBN, adding the features of a powerful programming language while retaining DBN’s ease of use to facilitate its application as an expressive creative medium. Computer art history The history of computer art goes back further than most people realize. However, before diving into computer art, it’s helpful to create some historical context by examining just a little computing history. There are many places to begin the story of computing; we could go back 4,000 years to the ancient Egyptians and Babylonians and the origins of mathematics. I suspect of interest to some readers would be the Egyptian Ahmes Papyrus, which contains some of the first known written equations for, among other things, the formula for beer—one approach to keeping students interested in math. We could then methodically move through the entire history of mathematics, looking at the Babylonian Salamis tablet, or counting board, circa 300 BC; the Roman hand abacus (see Figure 1-5) a little later; and then the suan pan, or Chinese abacus, getting us to around 1200 AD. We could
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 and 14: CONTENTS xii Environment . . . . .
Page 15 and 16: FOREWORD If you are like me (and th
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 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
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Page 64 and 65: of code that work like processing m
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Page 68 and 69: Without getting too geeky, the main
Page 70 and 71: A framework is just a concept for b
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Page 78 and 79: } pts[counter2].y-yg); xg*=-1; coun
Page 80 and 81: The overall movement was good, but
Page 82 and 83: Obviously, there are a lot of thing
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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,
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INDEX 784 functions, 440 loadPixels
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INDEX 786 filter function, 452-459
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INDEX 788 minute, 708 modelX/modelY
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INDEX 790 H haptics, 108 has-a rela
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INDEX 792 MouseListener interface,
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INDEX 794 M Mac keyboard shortcuts,
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INDEX 796 classes, 304, 321 constan
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INDEX 798 coding in 3D, 616 mapping
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INDEX 800 procedures see functions
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INDEX 802 Hybrid Shape, 366, 368 Hy
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INDEX 804 radians, converting betwe
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INDEX 806 Nematode sketch, 411, 413
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INDEX 808 text Orbiting Text sketch
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INDEX 810 VERY_HIGH option, encrypt
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