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|a 9781484262641
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|a 1484262646
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|a 9781484262658
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|a T385
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|a Zhang, Yu
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|a Coding art
|b the four steps to creative programming with the processing language
|c Yu Zhang, Mathias Funk
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| 260 |
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|a Berkeley, CA
|b Apress
|c 2021
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| 300 |
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|a 284 pages
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|a 3.3 Summary -- Chapter 4: Refinement and depth -- 4.1 Randomness and noise -- 4.1.1 Working with randomness -- 4.1.2 Controlling randomness -- 4.1.3 Selecting and making choices with randomness -- 4.1.4 Working with noise -- 4.2 MemoryDot -- 4.2.1 Smoothing -- 4.2.2 Smoothly working with many things -- 4.3 Using computed values -- 4.3.1 Computing values with functions -- 4.3.2 Interpolation -- 4.3.3 Interpolation with functions -- 4.4 Interactivity -- 4.4.1 Mouse interaction -- 4.4.2 Keyboard interaction -- 4.4.3 Other input -- 4.5 Summary -- Chapter 5: Completion and production
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|a Intro -- Table of Contents -- About the Authors -- About the Technical Reviewer -- Acknowledgments -- Chapter 1: Introduction -- 1.1 Coding art -- 1.2 Motivation -- 1.2.1 How to talk with a "machine" -- 1.2.2 Practice a practice -- 1.2.3 Do it and own it -- 1.3 How to read this book -- 1.3.1 Calling all creatives -- 1.3.2 Four steps, one example, one zoom -- 1.3.3 Getting ready -- Part I: Creative coding -- Chapter 2: Idea to visuals -- 2.1 Visual elements -- 2.1.1 Shapes -- 2.1.2 Shaping up in Processing -- 2.1.3 Colors, transparency, and filters -- 2.1.4 Working with form and texture
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|a Includes bibliographical references and index
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|a 5.4.3 Preparing for unattended operation -- 5.5 Moving to mobile -- 5.5.1 Structure of mobile Processing content -- 5.5.2 From Processing to p5.js -- 5.5.3 Fine-tuning the presentation -- 5.5.4 How to spot errors? -- 5.5.5 Deploying for mobile use -- 5.6 Summary -- Part II: An example: MOUNTROTHKO -- Chapter 6: Inspiration -- 6.1 Context and starting point -- 6.2 Concept and artwork -- Chapter 7: From idea to completion -- 7.1 Idea to visuals -- 7.2 Composition and structure -- 7.2.1 Composition: The fog -- 7.2.2 Composition: Creating the mountains -- 7.2.3 Structure: Creating the particles
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|a 2.2 Canvas secrets -- 2.2.1 Scaling visual elements -- 2.2.2 Resetting or restoring the canvas -- 2.2.3 Rotation and translation -- 2.3 Animation: From frames to motion -- 2.3.1 Animation basics -- 2.3.2 Simple movement -- 2.3.3 Rhythm in motion -- 2.4 Interaction as input for animation -- 2.4.1 Combining mouse presses and movement -- 2.5 Summary -- Chapter 3: Composition and structure -- 3.1 Data and code structure -- 3.1.1 Creating many things -- 3.1.2 Controlling many things -- 3.2 Visual structure -- 3.2.1 Composition and alignment -- 3.2.2 Composing with layers -- 3.2.3 Controlling layers
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|a 5.1 Making things big for print -- 5.1.1 High-resolution rendering -- 5.1.2 Migrating to scalable version -- 5.1.3 Rendering snapshots of dynamic work -- 5.2 A backstage for control -- 5.2.1 Tweak mode in Processing -- 5.2.2 Centralizing control with variables -- 5.2.3 "Backstaging" with the keyboard -- 5.3 More stable and less risky code -- 5.3.1 The right things in the right place -- 5.3.2 Avoiding resource bloat -- 5.3.3 Code structure -- 5.3.4 Don't reinvent the wheel -- 5.4 Testing before deployment -- 5.4.1 Depending on dependencies -- 5.4.2 Anticipating differences
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|a Computer software / http://id.loc.gov/authorities/subjects/sh85029534
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|a Infographie
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|a Funk, Mathias
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|a eng
|2 ISO 639-2
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|b OREILLY
|a O'Reilly
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|a Design Thinking
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|a 10.1007/978-1-4842-6264-1
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|u https://learning.oreilly.com/library/view/~/9781484262641/?ar
|x Verlag
|3 Volltext
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|a 741.6
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|a Finally, a book on creative programming, written directly for artists and designers! Rather than following a computer science curriculum, this book is aimed at creatives who are working in the intersection of design, art, and education. In this book you'll learn to apply computation into the creative process by following a four-step process, and through this, land in the cross section of coding and art, with a focus on practical examples and relevant work structures. You'll follow a real-world use case of computation art and see how it relates back to the four key pillars, and addresses potential pitfalls and challenges in the creative process. All code examples are presented in a fully integrated Processing example library, making it easy for readers to get started. This unique and finely balanced approach between skill acquisition and the creative process and development makes Coding Art a functional reference book for both creative programming and the creative process for professors and students alike. You will: Review ideas and approaches from creative programming to different professional domains Work with computational tools like the Processing language Understand the skills needed to move from static elements to animation to interaction Use interactivity as input to bring creative concepts closer to refinement and depth Simplify and extend the design of aesthetics, rhythms, and smoothness with data structures Leverage the diversity of art code on other platforms like the web or mobile applications Understand the end-to-end process of computation art through real world use cases Study best practices, common pitfalls, and challenges of the creative process
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