Processing: Creative Coding and Computational Art

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PART TWO: PUTTING THEORY INTO PRACTICE . . . . . . . . . . . . . . . . . 171 Chapter 6: Lines . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 173 Chapter 7: Curves. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 241 Chapter 8: Object-Oriented Programming . . . . . . . . . . . . . . . . . . . . 301 Chapter 9: Shapes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 339 Chapter 10: Color and Imaging. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 399 Chapter 11: Motion . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 481 Chapter 12: Interactivity . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 563 Chapter 13: 3D. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 615 PART THREE: REFERENCE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 673 Appendix A: Processing Language API . . . . . . . . . . . . . . . . . . . . . . . 675 Appendix B: Math Reference . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 747 Index . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 775
CONTENTS Foreword . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . xv About the Author . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . xvii About the Tech Reviewers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . xviii Acknowledgments . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . xix Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . xx PART ONE: THEORY OF PROCESSING AND COMPUTATIONAL ART . . . . 1 Chapter 1: Code Art. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3 Aesthetics + Computation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5 Computer art history . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8 Code artists. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14 Ben Laposky, 1914–2000 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14 John Whitney Sr., 1918–1995. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15 Herbert W. Franke, b.1927 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15 Lillian Schwartz, b. 1927 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15 Harold Cohen, b. 1928 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16 Roman Verostko, b. 1929. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17 George Legrady, b. 1950 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18 Mark Napier, b. 1961 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18 John F. Simon Jr., b. 1963 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19 John Maeda, b. 1966 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19 Mary Flanagan, b. 1969 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20 Casey Reas, b. 1970 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21 Jared Tarbell, b. 1973 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21 Ben Fry, b. 1975 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22 And many more . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23 Summary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24
Page 1 and 2: IrA GreenberG CreATe CoDe ArT, vIsu
Page 3 and 4: Processing: Creative Coding and Com
Page 5: CONTENTS AT A GLANCE 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 38 and 39: Figure 1-3. Example of ancient art
Page 40 and 41: then jump 400 years to 1614 and Joh
Page 42 and 43: fertile imagination remained intact
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
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2 CREATIVE CODING
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I think what was reinforced for me
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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,
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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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