Archive for the ‘Digital Art’ Category

New Art and the Artsnova Web Site Redesign

Saturday, March 2nd, 2013

Web Site Redesign Before After
Artsnova Web Site Redesign Before (left) and After (right)

Finally after a couple months of somewhat intermittent work I have deployed the redesigned version of my Artsnova Digital Art Gallery web site. One big consequence of the redesign is that I now have a much larger portion of my art online. Prior to the redesign I had 79 artworks on the site. As a part of the redesign I added 117 additional works of art (creating the additional 117 web pages for the art involved more work than the actual redesign!). The art I’ve added spans a number of years – going all the way back to 2002. Much of this is art that I have not previously made available for sale.

I also took this opportunity to remove all the photography from my web site. My plan is to, at some time in the future, create a separate web site for my photography. One site dedicated to art and another site dedicated to photography is a much more appropriate approach from both a business perspective and a search engine optimization perspective. So now I have total of 188 works of art on my site – with yet more to add as I find the time.

Back on the subject of the redesign, my five objectives in redesigning my site were:

  1. to widen the content area to support larger images for the art gallery
  2. to simplify and streamline site navigation
  3. to reduce the number of art gallery subject categories
  4. to give the design a cleaner look primarily by eliminating the sidebar
  5. to prepare the site to be upgraded to a responsive design for mobile browsers.

Widening the Content Area

For me the most important part of the redesign was to widen the content area so that I could use larger images to display my art. In the figure below, you can see a before and after image of one of my artworks – Beyond the Mountains

Beyond the Mountains Gallery Art Before and After
Beyond the Mountains Gallery Art Before and After

The darkened, desaturated component shows the area of the original image and the larger, colored background image shows the new size. It may not look like much but going from 600 to 670 pixels wide makes for a large difference on smaller screens.

Streamline Site Navigation

The second most conceptually difficult part of the redesign was to simplify site navigation so that I could eliminate an entire category of links. This required a rethinking of how I would organize content – while keeping in mind that the critical factor was making it as easy as possible for visitors to find what they were looking for.

Reduce the Number of Art Galleries

The most difficult part of the redesign was figuring out how to reduce and organize the number of art galleries I had on my site. With the old design, art was organized into the following eight different categories:

  • Abstract Art
  • Astronomical Art
  • Computer Art
  • Moon Art
  • Nature Art
  • Portrait Art
  • Space Art
  • Technology Art

Combining the Moon and Astronomical galleries into a Space gallery was easy. How to handle the abstract, nature, and technology categories proved to be much more difficult. For information about the new galleries and an explanation as to the contents of each, see the Art Gallery Index

A Cleaner Look

Giving the site a cleaner look was easy. Shrink the masthead, eliminate the sidebar, reduce the number of top level site navigation categories from five to four, and reduce the overall page width. The serendipitous aspect of this was that by eliminating a navigation category and the sidebar, I was able to decrease my overall page width while simultaneously expanding the content area.

Responsive Design Preparation

One of my many objectives for the coming year is to create a mobile-friendly version of my web site using what is known as responsive web design. The redesign accomplished this by simplifying the html page structure. This should make it easier for me to code up a responsive design. Stay tuned.

Now for the Bad News

The bad news is that I have not yet modified the template files for this blog so my blog is now not one but two generations of redesign out of sync with my web site. One of these days hopefully I will find the time to go in and redesign my blog so that it matches my web site.

If You Find An Error

If you find an error or mistake on one of the Artsnova pages, please consider dropping me a line. You can use the Artsnova Blog Contact Form to reach me.

Thanks and happy surfing, Jim

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Paint Heads Like Picasso

Tuesday, December 4th, 2012

Picasso Head Painting
My Picasso Head

I recently stumbled across an interesting web site that lets the visitor paint heads in the style of Pablo Picasso. It’s a fun diversion and includes a gallery of the Picassos created by other visitors to the site. The illustration above gives you an idea of the capabilities of the painting tool. You have a selection of facial features at your disposal and several tools that are used to manipulate those features. In the above illustration you can see the variety of noses that you can choose from. While I only selected one nose for my Picasso, there is nothing to prevent you from giving your portrait two, three, or more noses.

Note that the tool does not provide any drawing capability. Rather you choose from a set of predefined facial features and then use the suite of tools provided to position, color, resize, and distort those features. Once you have completed your digital masterpiece, you have the option of saving it to the gallery. I wound up not saving my own masterpiece as I did not feel like providing my email address. But many folks have added their paintings to the gallery so be sure to check it out so you can see what sorts of Picassos others have created.

The Picasso Head Web Site

Happy Painting, Jim

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From Capricon to Floral Photography

Tuesday, February 14th, 2012

The Flyers of Fomalhaut b Digital Art Painting
The Flyers of Fomalhaut b Digital Painting

Part 1: The Capricon Science Fiction Convention

This year Capricon was a short affair for me. While the con ran Thursday thru Sunday, I only attended Friday and Saturday and then only until 6:30pm as I had made plans to attend the opening of a photo exhibition at the Prairie Arts Center in Schaumburg. And because I was not returning on Sunday I did not participate in the art show. On Saturday I did make sure to go through the art show and was happy to see work exhibited by a couple of my friends. What I found disturbing though was the fairly large number of empty display bays in the show. In my experience the Capricon Art Show generally has little, if any, unused space. Unfortunately I had to leave before the start of the art auction so have no idea how well that went.

With respect to programming, my only job Friday was as a panelist on Pluto Is Still a Planet in Illinois with Bill Higgins (Fermilab physicist) moderating and copanelists Brother Guy Consolmagno (Vatican Observatory) and Steven Silver (Capricon Fan Guest of Honor). This was a really good panel given that Brother Guy was a part of the IAU meeting at which the Pluto vote was made and Steven was a friend of Clyde Tombaugh, the man who discovered Pluto. If you were at Capricon and missed this panel – it was definitely your loss.

I arrived back at the con Saturday morning shortly before I was scheduled to give my presentation The Art of the Exploration of Space. I especially liked that I had 75 minutes to speak as this allowed me to go at a leisurely pace and engage in conversation with the audience as I went along. This was immediately followed by my moderating a panel at the opposite end of the convention on Goodbye, Space Shuttle. My copanelists were Henry Spencer, Chris Gerrib, and Kent Nebergall. Kent had the misfortune of being in the audience of my space art presentation whereupon I drafted him for the Space Shuttle panel as I knew that he would have valuable insights to contribute.

I next attended The Coming War on General Purpose Computation presentation by Cory Doctorow, the author guest of honor. It was a fascinating presentation. While I agreed with Doctorow on SOPA and other aspects of attempts to stamp out the theft of intellectual property, I came away dissatisfied that he offered no remedy for the authors, artists, and musicians who are having their work stolen. I was also somewhat surprised by his stance towards Facebook in that he seemed to believe that people should not be given the choice of sharing their information on social networks. I viewed this as being inconsistent with what I would characterize as a free and open internet perspective.

The last panel I attended was the most boring panel I have ever attended at any science fiction convention. Now with a title like Civil Disobedience: Occupy Wall Street and the Tea Party Movement you would expect there to be an invigorating debate between the panelists and between the panelists and the audience. However, this panel was run by the brown shirts. No audience participation was allowed. There was a short period at the end where 5 people were identified and allowed to ask one question each with no follow up or commentary by the questioners permitted. In short, this panel was a total waste of time for the audience.

In summary, I’d say that the best things about Capricon were:

  • The accidental meetings
  • The conversations in the halls
  • The food in the green room
  • Prowling the Dealers Room
  • Checking out the art show
  • How well my The Art of the Exploration of Space presentation went and the ensuing conversations
  • Being on the Pluto panel with Brother Guy Consolmagno, Bill, and Steven
  • Friday lunch in the Green Room with Brother Guy, Bill Higgins, and Henry Spencer
  • Drafting Kent Nebergall to serve on the Space Shuttle panel.

Only one more year until Capricon 33!

Part 2: The Photography Exhibition at the Prairie Art Center, Schaumburg IL

Departing Capricon, I swung by home to grab a bite to eat and then headed over to the Prairie Art Center to take in a photography exhibition that was opening that night in the Herb Aigner Gallery. Titled Flowers in Our Soul, the show is devoted to artistic photographs of flowers and consists of 27 separate works. The photographers that I identified as having work on display in the show are Maria Aiello, Mary Angelini, Debbie Beller, Cindy Brumm, Susan Couch, Randee Lawrence, and Karie Strangeway. I had the opportunity to speak with several of them about their work. I was also curious to learn whether they printed their own work or used an outside service. If you would like to see the show, it runs through the end of February. See Prairie Center for the Arts, Schaumburg IL.

The Illustration

To illustrate this post I decided to use a piece of science fiction art that I just added to my web site. Titled The Flyers of Fomalhaut b, it is an imagining of what the life of exoplanet Fomalhaut b is like (note: not only is there no evidence of life on this planet, there is some question as to whether or not the planet even exists). Fomalhaut b appears to be a Jupiter-like planet that is about three times more massive than Jupiter and which orbits the star Fomalhaut once every 872 years. By comparison Pluto takes 248 years to complete an orbit of the Sun.

For more about this digital painting, see The Flyers of Fomalhaut b.

Until next time, Ad Astra, Jim

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Free Software Downloads: Bryce, Daz Studio, and Hexagon

Monday, February 6th, 2012

Bryce, Hexagon, DAZ Studio Free Download
Bryce, Hexagon, DAZ Studio Free Download

Saturday I learned that DAZ (Digital Art Zone) is making available the following software as free downloads until February 29:

  • Bryce 7 Pro 3D Landscape Software (retail price $249.95)
  • Hexagon 2.5 3D Modeling Software (retail price $149.95)
  • DAZ Studio 4 Pro 3D Software (Winner of 3D World’s 2011 Software Innovation of the Year Award) (retail price $429.95)
  • 3D Photoshop Bridge (retail price $199.00)

In addition there are a number of free models and textures available as well. The total retail price of the basket of software, models, and textures that I downloaded was $1,350. The one requirement is that you subscribe to their newsletter – meaning you give them your email address.

Note that your order will show up in the Available Downloads link from your Account Dashboard and that you are allowed 4 downloads of each product you have ordered. The serial numbers for your software are retrieved separately via the Available Serial Numbers link. All downloads are in the form of executable files. The largest downloads are:

  • Bryce 7 Content – 670 meg
  • Daz Studio 4 32-bit – 441 meg
  • Daz Studio 4 64-bit – 439 meg
  • Bryce 7 Pro – 254 meg

I’ve never used Hexagon or DAZ Studio Pro but Bryce was the first 3D software I ever used – back when it was version 3. I haven’t used it in years but I still have a large collection of Bryce files and it would be nice to perhaps resurrect some of them. The name is taken from Bryce Canyon, which I had the pleasure of visiting a few years ago (there’s a photo of me at Bryce on the bottom of my home page). The first version of Bryce was released as a Mac only product in 1994. Version 3.1 of Bryce 3D was released in 1997 by MetaCreations Corporation – this was when I first purchased Bryce. Bryce was acquired by the Corel Corporation in 2000 who released version 5 of Bryce in 2001. Bryce was sold to DAZ in 2004 who has gone on to release versions 5.5 and 6.0 with Bryce 7 being released in 2010. Bryce 3D has always been looked down upon as a package for newbies with limited capabilities. While these criticisms are true, it’s important to remember that for many digital artists, Bryce was what opened the door for them to explore the world of 3D graphics software. It’s low price and easy-to-learn interface made it a perfect software solution for those digital artists looking to get their feet wet.

Hexagon is a tool for creating 3D models. According to the DAZ web site:

Hexagon delivers all the tools a graphic artist needs to create detailed 3D models ready for final render. Packed with features such as; DAZ Studio Bridge, sculpted primitives, freehand modeling brushes, micro-displacement modeling tools, comprehensive UV-mapping modules, advanced 3D paint, and instant ambient occlusion. Hexagon provides you with all the options of expensive competitor software, but at an affordable price.

I’m not sure what to make of 3D Photoshop Bridge. The DAZ web site describes it as a " DAZ Studio plug-in designed to connect the power of Photoshop with the unlimited content possibilities of DAZ Studio. It’s the next step to maximizing your creativity. It will also save you money by eliminating the need for costly photo shoots and stock imagery, save you time with quicker rendering, and save your brain by swiftly and easily integrating the best features of DAZ Studio and Photoshop…Easily pose characters and objects three-dimensionally with the 3D Photoshop Bridge while in DAZ Studio,"

Of course it would help if I knew more about Daz Studio. In this case, download first then investigate was my motto. According to DAZ:

DAZ Studio is a feature rich 3D figure customization, posing, and animation tool that enables anyone to create stunning digital illustrations and animations. DAZ Studio is the perfect tool to design unique digital art and animations using virtual people, animals, props, vehicles, accessories, environments and more. Simply select your subject and/or setting, arrange accessories, setup lighting, and begin creating beautiful artwork.

The free 3D software is available via download only from DAZ3D.com between now and February 29, 2012:

http://www.daz3d.com/i/3d/free-3d-software-overview

Product Links:

Note that there are a number of video tutorials available for Bryce, Hexagon, and DAZ Studio on YouTube.

Here’s to happy and creative computing. Jim

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New Algorithmic Art and a Processing Tutorial

Monday, January 30th, 2012

Aftermath Digital Painting
Aftermath Digital Painting, 32 x 16 inches

All in all this has been a very good day. It started too early when my alarm went off at 6:00am. While fixing my son’s lunch, I hit upon the following limerick, a testament to having gotten too little sleep (I didn’t go to bed till after 1:00am):


My alarm goes off at six o’clock
It always comes as quite a shock
There in bed I wish to lay
But I have to rise and face the day
Gee I hope I don’t get artist’s block

Seeing my son off to school and with coffee in hand I settled in at the computer. I began by putting the finishing touches on the web pages for my series of five works of algorithmic art titled Cubic Disarray. Fortunately most of the work was done for me by a program I wrote to fill in a skeleton art gallery web page with the relevant data from a control file. This program also produces the XML entries for my sitemap.xml and newsfeed.xml files. The five works in the Cubic Disarray series are:

Cubic Disarray: Division algorithmic art
Cubic Disarray:
Division

Cubic Disarray: Bisection algorithmic art
Cubic Disarray:
Bisection

Cubic Disarray: Impending Unity algorithmic art
Cubic Disarray:
Impending Unity

Cubic Disarray: Point of Radiance algorithmic art
Cubic Disarray:
Point of Radiance

Cubic Disarray: Turbulence algorithmic art
Cubic Disarray:
Turbulence

When I decided yesterday that I was going to add these to my web site and make them available for purchase, I knew that I wanted to give credit to Georg Nees, whose work Schotter was the inspiration for my series. My idea quickly snowballed out of control. My first impulse was to just give a line of credit on each page. My next impulse was to create a web page dedicated to Schotter (German for gravel). I then decided to write a program using Processing that would recreate Schotter. Once I had the program written, it seemed only natural to turn it into a tutorial.

This morning I finished work on the tutorial and published it, along with the Cubic Disarray series to my web site. Included in the tutorial are a side by side comparison of Nees’ original Schotter and the Processing recreation. If you are a Processing user or are just curious to learn about algorithmic art, then check out my Georg Nees, Processing, and a Schotter Tutorial

In other good news I heard from an art gallery in Chicago today that is interested in my art. Hopefully we’ll be a good match for each other. Right now some of my space art is being exhibited and is available for purchase from Paper Crown Gallery located in Arlington Heights.

Lastly and best of all I completed two digital paintings today. Now one of these, titled City Lights, I started today and finished today. The other painting, titled Aftermath, I only finished today. Believe it or not I actually began this piece in April 2009 and last worked on it in April 2009. For almost three years this piece sat collecting electronic dust before I quite by accident rediscovered it earlier today. At 16 x 32 inches, Aftermath is one of my larger pieces and I have used it to illustrate this post.

So today was definitely a day without artist’s block. But who knows what tomorrow holds.

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New Art

Friday, January 6th, 2012

Autumn Mountains Digital Art Painting
Autumn Mountains Digital Painting

I last wrote about my creating a database for my art (see Creating An Art Inventory). As a part of that process I made a New Year’s resolution to get all my art added to my web site. Given the large number of digital paintings that I have to add, I decided to write a C++ program to create the needed gallery pages. The program works by pulling the relevant data from a control file created from my art inventory and writing that information to a skeleton gallery page. I’m happy to say it worked like a charm.

The first two paintings I’ve added are:

Autumn Mountains digital painting
Autumn Mountains
Portrait of Amie digital painting
Portrait of Amie

Portrait of Amie (a cropped version is shown here) is the final version in a series of paintings I made while developing and testing a digital painting program that employs what I refer to as an algorithmic paintbrush. This painting was particularly challenging because not only was I developing a work of art but I was simultaneously developing the painting program to create that art.

Autumn Mountains came to me unexpectedly. I was flipping through my copy of The Atlas of Middle Earth and paused on a page with a map of Ered Luin (Blue Mountains) and Grey Havens. It brought to mind the line art of J. R. R. Tolkien used to illustrate my very old copy of The Lord of the Rings. With that style in mind, I created the foreboding, fantasy landscape Autumn Mountains. Note that a wallpaper sized version is available from the Autumn Mountains gallery page.

More art to follow so stay tuned.

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Digital Art and Unintended Consequences

Monday, December 12th, 2011

Example of unintended consequences in digital art
An example of unintended consequences in digital art

Yesterday I was working on an image processing program to use as a part of my art creation workflow. I was writing a program to texturize an image so that I could incorporate the output as a layer in a Photoshop document.

As a part of the development process, I decided to use as the source image the painting Paris Street, Rainy Day by French artist Gustave Caillebotte. This is the same image that I used to serve as the "discovered" painting for my article and applet Particle Painting: Name That Painting.

To create the look I was after I needed to use the third dimension, aka the z axis. The addition of the z axis made it possible for me to use that axis as the source of distortion while keeping the correct color information in the x,y plane. Using 3D also allowed me to rotate the image relative to the "camera" thus introducing another level of distortion.

All was going well until I made one small change to the variable I was using to control the distortion along the z axis. This single change took what had been output that was recognizable as the source image and produced an image that was completely unrecognizable. I’ve used a cropped version of that output to illustrate this post. Below is a side by side comparison of the source image that my program used as input and the resulting output.

Caillebotte's Paris Street, Rainy Day before and after
Caillebotte’s Paris Street, Rainy Day before and after.

This can not be called an algorithmic oops or a glitch. Rather it is a case of parametric discovery. It is this discovery opportunity, whether by design or by accident, that makes digital art such an interesting and revolutionary arena for artistic creation.

It remains to be seen whether or not I will ever make use of this program in a production environment. Even if I don’t, what I learned during the process will serve me well in the future. So remember the golden rule of digital art: never be afraid to experiment.

Ad Astra, Jim

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Art Exhibit and Web Site Updates

Monday, April 4th, 2011

Fremont Public Library in Mundelein IL
Fremont Public Library in Mundelein IL

I must say that 2011 has not been a good year for posting to my blog. Looking back, I can see that my pace has slackened significantly from what it was in the past. If you visit my Facebook page – Artsnova Art of Jim Plaxco you’ll see that my postings there have been equally erratic. There are so many things going on and just not enough time for all of them.

However, I have been continuing to make additions to the Artsnova web site. Specifically, this year I’ve added:

With respect to my art, I spent part of today setting up an art exhibit at the Fremont Public Library in Mundelein, IL. I was only able to exhibit 11 framed works of art as each of my pieces was of a decent size and I quickly filled the space available. My art will be on display in the library until July 11, 2011.

Fremont Public Library Mundelein Art Display 1st Floor
Fremont Public Library Mundelein Art Display 1st Floor

The art on the first floor is in an excellent location from a visibility perspective. Upon entering the library, the art is easily visible. Note that additional wall space is reserved for another artist who is also a member of the Northwest Cultural Council Corporate Art Gallery Program. Fortunately the display space I received is slightly larger and better positioned than the alternate space.

Fremont Public Library Mundelein Art Display 2nd Floor
Fremont Public Library Mundelein Art Display 2nd Floor

The art space on the second floor is much smaller and not so well positioned. However, as it turns out my art is located right next to the tax forms so for the next week or so it should be seen by lots of folks who, like myself, have waited to the last minute to do their taxes.

In other news, I’ll be speaking at the DucKon Science Fiction Convention in June and will also be in their art show. Because of that, I decided to not display any of my astronomical art or space art at the library.

I still don’t know if I’ll be able to attend the 2011 International Space Development Conference. While I did do a presentation about space art at last year’s conference, I did not submit any proposals this year due to not being certain of being able to attend. Missing the ISDC would be quite unfortunate as I am on the Board of Directors for the National Space Society and it is at the ISDC that one of the two annual board meetings is held.

To close, I leave you with a quote from scientist and science fiction author Arthur C. Clarke: "The astronomical artist will always be far ahead of the explorer. They can depict scenes that no human eye will ever see, because of their danger, or their remoteness in time and space."

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Capricon Science Fiction Convention 2011 Debriefing

Wednesday, February 16th, 2011

Capricon Live Art Sound Art Landscape
Capricon Live Art Program – Sound Art Landscape

The Capricon Science Fiction Convention was held at the Wheeling Westin Feb. 10 thru Feb 13. I arrived Thursday evening for my first panel – Requiem for the Space Shuttle. Along with fellow panelists Bill Higgins, Tracy Lunquist, and Henry Spencer, we discussed the history of the space shuttle program and its impact on space exploration. We also spent some time talking about the future of human access to space and the commercial revolution that will make it possible for private citizens to buy tickets for trips to space, i.e. space tourism. Our discussion lasted for over 90 minutes with lots of input from an enthusiastic audience.

Live Art

For me, the highlight of my participation in Capricon was my Friday morning Live Art presentation. My presentation opened with a demonstration of one of my programs for taking sound input from a microphone and processing that sound in order to create visual imagery. This was followed by my presentation which explored the subjects of algorithmic art, conceptual art, the question of is computer art art, and an explanation of my methodologies and the programming tools that I used to create the various programs. In fact a reasonable part of my presentation could be considered as a sales pitch for the field of computer art. My presentation was followed by the "show" – which involved running a number of different programs I had written to convert sound into art and letting the audience have their way with the microphone. Several of the artworks we created can be seen at A Gallery of Live Art Created at the Capricon Science Fiction Convention. The point that I sought to drive home was that while the sounds being generated by the audience were largely the same, the way in which they were interpreted visually varied tremendously based on the algorithm being used to translate the sound waves into visual imagery. For information about Live Art and my other presentations, see my Art Lectures page.

The Art of Space Exploration

Saturday morning I gave my The Art of Space Exploration presentation which provides an overview of the history of space art – beginning with early astronomical art and concluding with a discussion of space art from an artist’s business perspective. I included a couple of my own works in the presentation, including Shattered Dreams, a piece that I created as political commentary on the cancellation of NASA’s planned return of humans to the Moon and which was the cover art for the 2010 International Space Development Conference Program Book.

Capricon Odds and Ends

The rest of the weekend was spent either in conversation in the halls or over food, or attending panels on a variety of subjects. Unfortunately for me, the three programs I most wanted to see at the convention were scheduled in the same time slots as when I was speaking. My surprise meet-up of the convention was with fellow space artist John Kaufmann. This was the first time I had met John face to face – our previous meetings were of the virtual variety. John had some great astronomical art in the convention’s art show. We had a wonderful time talking shop and otherwise. Dinner Saturday consisted of an outing to a local mexican restaurant with Tullio Proni, maker of ray guns and other fine energy weapons; Bill Higgins, a beam jockey at Fermi Lab; and Nora. The other convention highlight was attending the Dr. Horrible’s Sing Along Blog which indeed lived up to its name. In short, I had a fine, fun time at the con.

The Illustration

To illustrate this blog post, I combined two of the artworks created during the Live Art program in Photoshop and performed some additional image manipulation on them to create an abstract landscape. I also use this piece to illustrate A Gallery of Live Art Created at the Capricon Science Fiction Convention.

Referenced Links

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Tweet A Processing Sketch

Thursday, December 9th, 2010

Processing Sketch
A Processing sketch to illustrate this post

If you check out my Twitter account (http://twitter.com/digitalart), you will note that in the past I created a limerick that fit within the 140 character limit Twitter imposes.

A while back there was a Processing Tiny Sketch Competition in which the Processing community was challenged to create a complete Processing sketch with a 200 character limit for the Processing program. That contest was hosted by Rhizome (you can visit my Rhizome account).

This got me to thinking: what about creating a Processing sketch that could be tweeted. If you haven’t heard of Processing, it is an open source programming language and environment for people who want to create images, animations, and interactions. Processing is built on Java and the Java programming language is available to Processing users. It’s a wonderful programming environment for artists and programmers alike. You can see what many folks have done with Processing at the OpenProcessing web site.

So my challenge to myself was to write an entire Processing program using less than 140 characters and I wanted the resulting image to be dynamic rather than a static. Fortunately Processing is quite flexible and there are a number of ways to shrink a program. Before explaining my methodology, here is the full unshortened version of the Processing program source code:

// declare integer variables
int x;    // x for horizontal pixel coordinate
int y;    // y for vertical pixel coordinate
int r=100;// r holds default screen size
 
// Setup() function is executed once at program start
void setup() {
  size(100,100); // Set the screen size
  background(0); // Set background color to black
}
 
// The draw() function executes continuously
void draw() {
  // Cycle through every value of x
  for(x=0;x<r;x++) {
   // For each x, cycle through every value of y
   for(y=0;y<r;y++) {
     // Set the pixel at x,y to the specified color
     set(x,y,color(frameCount*r*sin(frameCount*x),
             20*r*cos(frameCount*y),
             r*frameCount*cos(x))); 
   }
 }
}

And here is the Twitter optimized version:


int x,y,r=100,t=1;void draw(){for(x=0;x<r;x++)for(y=0;y<r;y++)set(x,y,color(t*r*sin(t*x),20*r*cos(t*y),
r*t*cos(x)));t++;}

The program is just 121 characters long. I’ve named this program Scottish Tartan as the output resembles a tartan. There’s a nice tie in as I am part-Scottish via the Campbell clan. Other than omitting the comments and crlfs (carriage return line feeds), there are functionally only two differences in the two programs.

  1. I deleted the setup() function because it is optional. It is used to initialize various parameters and options and is executed just once. By removing it:
    * the canvas will default to a size that is 100 pixels wide (the x dimension) by 100 pixels tall (the y dimension).
    * the background color will default to gray.
    * the colorMode will default to RGB with 256 possible values for each color.
  2. I replaced the system variable frameCount with my own variable t. The frameCount variable is incremented each time the draw() function is executed. Substituting my own variable t saves characters.

Other strategies to shorten the program were to:

  • Keep variable names to one character (x,y,r,t)
  • Use the increment operator t++; instead of t=t+1;
  • Eliminate unnecessary for statement brackets

See the Processing program as a Twitter tweet

If you want to see what the program actually does you will need to download and install Processing. Installation is straight forward and best of all it’s free. Why not give it a try. Visit http://processing.org/ for more information and to download Processing.

Processing Books

There are a number of books that have been written about how to use Processing to create images, animations, etc. Following are books that I recommend – based on the fact that I’ve bought and used them.

In addition to the books listed above, there is a new book out on Processing that was released in August 2010. I do not have this book so can not comment on it. You may want to investigate for yourself. The book is Processing for Visual Artists: How to Create Expressive Images and Interactive Art

Merry Christmas everyone, Jim

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