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Make Your Own Algorithmic Art A Gentle Introduction to Creative Coding with P5js

Contents Introduction Prologue - Algorithmic Art? Part 1 - First Building Blocks Before We Get Started First Things First - A Canvas Creating A Canvas With Code The setup() Section The draw() Section Our First Shape - A Circle Fill Colour Outline Stroke Saving And Sharing Our Sketches Worked Example: Ripples More Shapes - Rectangles, Lines Part 2 - Algorithmic Thinking Randomness Worked Example: Paint Drops Repetition Repetition - Using The Counter A Loop Within a Loop Worked Example: Splatter! Part 3 - More Building Blocks Mixing Colours Translucent Shades Worked Example: Metropolis Functions - Reusable Code Functions Made of Functions The Sinuous Sine Wave Natural Decay Worked Example: Spirograph - 1 - 3 7 13 15 20 29 31 32 35 44 46 50 57 65 75 77 87 98 109 118 133 153 155 170 177 201 217 229 250 266

Part 4 - More Algorithmic Fun An Apparently Unhelpful Definition The Mysterious Holocrux Random Recursion Worked Example: Tree Forms Creative Chaos Making A Map of Chaos Worked Example: Whirling Dervish Part 5 - Even More Building Blocks A More Human Colour Model Worked Example: Contemplation in Colour Not So Random Randomness Worked Example: Alien Terrain Part 6 - Even More Algorithmic Adventures Algorithms That Make Algorithms Turtle Code Growing Turtle Code Worked Example: Fractured Reality Epilogue - Algorithms As Art Appendix A: More Loop Examples Appendix B: Just Enough Trigonometry Appendix C: A Bit About Complex Numbers Gallery - 2 - 299 301 302 318 325 350 374 394 407 409 424 435 449 469 471 471 487 502 519 521 533 543 559

Introduction What’s Our Aim? The aim of this guide is to inspire more people to create algorithmic art - and enjoy doing it! To do that we’ll will gently introduce: ● The key ideas we need to create art with computers - like pixels, colour and shapes. ● How we tell our computers to draw and paint what we want - using a language that computers can understand. ● Cool (but simple) mathematical ideas that help make amazing art - ideas like repetition, randomness, recursion, and even something called chaos! We’ll avoid lots of technical jargon and unnecessary equations. We won’t assume you know lots of maths already, and you don’t need to have programmed a computer before at all. We’ll keep things friendly and informal, start from the very basics and gently build up from there, taking every opportunity to explain ideas visually and with lots of examples. We don’t want to leave anyone behind! If you work your way through this book, by the end you should: ● Be able to code confidently, and with enough knowledge of coding for it never to be a barrier to any creative ideas you have. ● Have a good feel for a good range of algorithms and mathematical ideas that can be used to create really interesting visual forms. ● Have had some hands-on experience of the process of creating algorithmic art, from creative inspiration, experimenting and learning from failure, using mathematical tools to solve problems, and refining a work to finalise a good composition. Who Is This Book For? This book is for anyone who is interested in art, computing or maths and wants to see how they combine to create beautiful things! This book was written for three communities in particular: - 3 -

● Artists who have never coded before, and want to take their first steps. ● Technologists who may be able to code and want to explore their own artistic creativity. ● Teachers seeking a visual approach for teaching programming and algorithms. If you’re a student of digital art, you will find this book helpful to get you started and confident with coding, before progressing onto more advanced topics in your course. How We’ll Work, And How We Won’t This book is firmly aimed at beginners. For that reason, this book won’t go fast, and it won’t try to be too concise. We’ll introduce each new idea with a nice friendly chat, and use lots of pictures, analogies and examples. Many of us prefer to learn visually, not by staring at a page of text. As we discuss a topic, you’ll be encouraged to experiment with the examples and ideas we come across. This hands-on work is really important. You can’t become a good artist without practice and without trying new things. The same is true for coding. We learn by breaking things, seeing what works and what doesn’t. After each new idea, we’ll work through a small example project illustrating how that new idea can be used. We’ll include all the steps and preparatory work, often unseen, to really understand and experience how a work of algorithmic art is created. Also, this isn’t a reference book. We won’t try to talk about everything related to coding or algorithms. It’s a practical guide to get you started with algorithmic art, and give you enough confidence to explore and continue learning, making use of the great online resources and references yourself. There’s one area of algorithmic art that we won’t cover in this book, and that’s animation. Animation isn’t best explained in a book where the images on the page don’t move. We’ll cover animation topics on the blog that accompanies this book. Digital Art for A Digital Age Over the centuries, as new materials, new science and new philosophical ideas have emerged, artists haven’t been shy about adopting them. This digital age is no different. Every aspect of our lives is massively and increasingly permeated by code, data and algorithms. It would be increasingly impossible to avoid using these to create the art of our time. And artists - 4 -

are increasingly using code, data and algorithms as their new tools and media. Some even consider their algorithms as art, as their new means of expression. Even if you’re not so interested in all that philosophical stuff, creating art with code, data and algorithms is fun and exciting in ways that traditional art isn’t. Programming? Processing? P5js? Coding? If we want our computers to create art for us, we need to talk to them so we can tell them what we want. We need to use a language that they can understand precisely and without ambiguity. These languages are called computer programming languages. We can’t use our own languages like English or Spanish because they’re not precise or unambiguous enough. Processing is the name of the programming language that was designed to make creating art with computers easy. And it worked. Processing has grown in popularity amongst algorithmic artists, designers, creative technologists, and is increasingly taught in art schools and universities. Because it’s so easy, and so visual, there is growing interest in using it to teach children to program computers and to think algorithmically. p5js is a version of Processing designed to work on the web. A web browser on a computer, laptop, tablet or smartphone is all that’s needed to view and interact with art created with p5js. That’s a powerful thing, because your audience could be any one of the three billion people on the internet all over the world. In this book we’ll not be too strict about distinguishing Processing from p5js, but whenever something is unique to p5js we’ll say so. Coding is just a modern term for programming. Decades ago scientists programmed the computers that controlled space flight. Today artists do creative coding. It just sounds fresher! Open Source Culture All the software we’ll use is open source - which means it is free to get, change, and share. For most people this means there is no need to pay for it, a great advantage if you’re a student on a budget, or keeping an eye on costs teaching children to code. More than just being cost-free, open source is a culture. It’s a culture of sharing what we’re working on, encouraging others to use it, being generous with our skills and honest about things that don’t work so well so others can have a go. The open source movement has created some of the world’s best and most important technology - and all available to anyone without being asked to pay. We’ll also be making our art available on the web. The web is the most open and widely accessible exhibition space in the world, open to people from many cultures and backgrounds, - 5 -

using their own choice of technology to experience our creations, be that a cost-effective laptop or a convenient smartphone. All the art that we create in the book, together with the code to make it, will be freely available on the internet for anyone to see, share and experiment with themselves. Author’s Note You can join in and discuss your questions or ideas online. A blog accompanying this book, which also covers additional topics and questions raised by readers, is at: ● https://makeyourownalgorithmicart.blogspot.co.uk You can also contact me by email makeyourownalgorithmicart@gmail.com or on Twitter @algorithmic_art. I’d love to hear about what you’re working on, share what you’ve created online, or talk about any problems you’re having with this book, coding or art in general. And I really encourage you to join in with a local group interested in algorithmic art. Having a community around you is part of the amazing experience of creating art with code. And if a group doesn’t exist near you, go along to a related computing or art group and recruit friends to start your own movement! I run the mostly London based Algorithmic Art meetup, where you’re always welcome to come along, share what you’re working on, find out what others are doing, and make new friends. I will have failed as a teacher if any reader feels left behind because something in this book wasn’t explained well enough. So do get in touch if this happens! Have fun! Tariq - 6 -

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