Processing: Creative Coding and Computational Art

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Typography Processing utilizes multiple approaches to rendering typography in your sketches, including both raster- and vector-based solutions. Historically for graphic designers, typography on the Web has required a cost-benefit analysis between using common but ubiquitous fonts (i.e., native fonts, which are likely to be installed on most users’ systems) and using more involved, memory-intensive, or unpredictable solutions. Processing sketches are widely distributed as applets on the Web, so there are some similar trade-offs when using typography in your sketches. The Typography section is divided into four sections: PFont PFont Loading & Displaying Attributes Metrics PFont is Processing’s custom font data type. When using type in Processing, you first need to declare a PFont object. This object is then assigned a reference to a specific font. For example, assuming you have a font named Verdana-24.vlw in the data directory of your current sketch, you can render type in Processing using the following: PFont f = loadFont("Verdana-24.vlw"); textFont(f); text("Hello", 19, 55); Processing’s VLW format is a custom bitmapped font format, which relies on a brute-force approach to incorporating typography into sketches—characters are described as images, rather than with a scalable vector format. The benefit of this arrangement is that fonts not installed on a user’s system can still be rendered in Processing, which would not be the case if Processing depended only upon installed native fonts. Although the VLW format solves the missing typeface problem, it is not without its own challenges. When a typeface is converted to the VLW format, it should be specified at the exact point size it will be rendered at or it may not render clearly. This means that if you use the same font at varying sizes throughout your sketch, you’ll want to create a number of separate VLW fonts for the different sizes (even though it’s the same font). Sketch performance is also negatively impacted when the VLW fonts are not created at the specified rendering sizes in your sketch. Before you completely write off typography in Processing, you should note that it’s possible to use vector-based typography in Processing as well. You can ask Processing to use native (scalable vector) fonts, assuming the user has the specific font installed on their system, by including the following command in your sketch: hint(ENABLE_NATIVE_FONTS); PROCESSING LANGUAGE API 737 A
PROCESSING: CREATIVE CODING AND COMPUTATIONAL ART 738 Processing can also render TTF (TrueType) and OTF (OpenType) font vector formats, as long as the font is installed in your sketch’s data directory. Thus, it is possible to distribute your sketch on the Web or directly to another user with the specific TTF or OTF font included in the sketch’s data directory. However, there are legal/copyright issues involved in distributing fonts like this, as the Processing reference states: “Only fonts that can legally be distributed should be included with a sketch” (see http://processing.org/ reference/createFont_.html). Finally, type in Processing can also be rendered in 3D space, although there is some quality loss for this very cool capability. If quality is critical, use the textMode(SCREEN) command, which forces the type rendering to the front of the display window, increasing rendering quality. Loading & Displaying The Loading & Displaying subsection has four main functions that allow fonts to be displayed in Processing, as follows (please note that the Processing language reference lists text() first, but I’ll discuss it last): text() createFont() loadFont() textFont() createFont() dynamically converts a font installed on your computer to the VLW format used by Processing. This function works similarly to the Create Font command in the Tools menu. However, the createFont() function doesn’t write the converted VLW font to disk the way the Create Font command does. While the createFont() function is listed in the Processing online reference as an advanced feature offering precise control, the reference states that “On most occasions you should create fonts through selecting ‘Create Font . . .’ from the Tools menu.” For more info on this advanced feature, please refer to http://processing.org/reference/createFont_.html. To load existing VLW fonts installed in the data directory, use the loadFont() function, which expects a string of the full font name. No path is necessary if the VLW font is installed at the root level of the data directory. textFont() allows you to set the current font, as long as it’s been loaded with loadFont(). Finally, the text() function is what you call to actually add some type to the screen. text() has numerous forms with regard to arguments you can pass it, including x, y, z, width, and height. The following typography example I created rotates two text strings in 3D space (see Figure A-19). I created one of the fonts dynamically and loaded the other out of the sketch’s data directory. In creating the font dynamically, I needed to make sure that I used a font installed on my computer (I specified Helvetica). If you’re not sure what fonts you currently have installed, run the following line of code in Processing: println(PFont.list());
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IrA GreenberG CreATe CoDe ArT, vIsu
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Processing: Creative Coding and Com
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CONTENTS AT A GLANCE Foreword . . .
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CONTENTS Foreword . . . . . . . . .
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CONTENTS viii The joy of math . . .
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CONTENTS x Applying OOP to shape cr
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CONTENTS xii Environment . . . . .
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FOREWORD If you are like me (and th
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ABOUT THE AUTHOR With an eclectic b
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ACKNOWLEDGMENTS I am very fortunate
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INTRODUCTION Welcome to Processing:
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INTRODUCTION xxii Intended audience
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INTRODUCTION xxiv Setting up Proces
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INTRODUCTION xxvi Hopefully by now
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INTRODUCTION xxviii Figure 3. Scree
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INTRODUCTION xxx New or changed cod
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1 CODE ART
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The problem with a Photoshop filter
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Figure 1-3. Example of ancient art
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then jump 400 years to 1614 and Joh
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fertile imagination remained intact
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As an aside, it’s worth observing
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John Whitney Sr., 1918-1995 John Wh
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algorithms. To learn more about Coh
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landfill/), and Feed (www.potatolan
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periodicals such as Art Journal, Wi
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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
Page 718 and 719: Example 3: Creating a honeycomb gra
Page 720 and 721: Conditionals Conditionals and the r
Page 722 and 723: Shape // top and bottom boundaries
Page 724 and 725: You’ll notice that by default, th
Page 726 and 727: start dragging if flag true for (in
Page 728 and 729: pushMatrix(); rotateY(-frameCount*P
Page 730 and 731: egular polygon size(400, 400); smoo
Page 732 and 733: texture(images[3]); vertex(w, -h/2,
Page 734 and 735: lots of arrays float[]x = new float
Page 736 and 737: Keyboard Figure A-9. Box Springs sk
Page 738 and 739: entering CMD). When using a command
Page 740 and 741: hour hand strokeWeight(2); stroke(5
Page 742 and 743: In the next example, I use beginRec
Page 744 and 745: Transformations include moving, sca
Page 746 and 747: float ang; int rows = 20; int cols
Page 748 and 749: vertex(-w/2 + shiftX, -h/2 + shiftY
Page 750 and 751: Lights The Lights section includes
Page 752 and 753: system, you can try lowering the re
Page 754 and 755: ankAngle+=bankSpeed; vert = -600 +z
Page 756 and 757: Setting The Setting section include
Page 758 and 759: ellipseMode(CORNER); fill(200, 200,
Page 760 and 761: of this part of the API. These myst
Page 762 and 763: Image The Image section relates ver
Page 764 and 765: Loading & Displaying The Loading &
Page 766 and 767: these elements is the creation of a
Page 770 and 771: This will output a list of all the
Page 772 and 773: “Operators” will hopefully soun
Page 774 and 775: The noise() function is an advanced
Page 778 and 779: B MATH REFERENCE
Page 780 and 781: After multiplying, you can reduce t
Page 782 and 783: Here’s an example: When dividing,
Page 784 and 785: Figure B-1. Using a right triangle
Page 786 and 787: Here’s how the process works: pic
Page 788 and 789: In Figure B-5, the point p is at 45
Page 790 and 791: ect (px, py, 5, 5); stroke(100); li
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Page 796 and 797: Here’s the output: c1 in binary =
Page 798 and 799: This sketch outputs the following:
Page 800 and 801: I’m not going to provide examples
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Page 804: Figure B-7. Color variations filter
Page 807 and 808: INDEX 776 SYMBOLS AND NUMERICS /* a
Page 809 and 810: INDEX 778 beginShape function, 209
Page 811 and 812: INDEX 780 clipping planes, frustum,
Page 813 and 814: INDEX 782 naming conventions/rules,
Page 815 and 816: INDEX 784 functions, 440 loadPixels
Page 817 and 818: 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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