Elena Deng Project 5 Wallpaper

sketch

/*Elena Deng
Section E
  edeng1@andrew.cmu.edu
  Project-05
}
*/

function setup() {
    createCanvas(600, 600);
    noStroke();
}

function draw() {
    background("pink");

//draws background lines (light pink)
    for(var i=-20; i<width; i+=30){
      rect(i,0,20,height);
      fill(250,171,206);
    }

    //draws circles (dough)
    for (var y = 20; y < height; y += 80) {
        for (var x = 20; x < width; x += 70) {
            fill(200,164,118);
            ellipse(x, y, 60, 60);
        }
    }
//draws icing (chocolate)
    for (var y=20;y<height;y+=80){
      for (var x = 10;x<width;x+=70){
        fill(126,87,49);
        ellipse(x+10, y, 48, 48);
      }
    }

//draws donut hole
    for (var y=20;y<height;y+=80){
      for (var x = 10;x<width;x+=70){
        fill("pink");
        ellipse(x+10, y, 15, 15);
      }
    }
//sprinkles (yellow and blue)
    for(var y=10;y<height;y+=80){
    for(var x=10;x<width;x+=70){
      stroke("yellow");
      strokeWeight(2.5);
      line(x,y,x+3,y+3);
      line(x+5,y+20,x,y+23);
      line(x+25,y+10,x+28,y+14);
      line(x+10,y-5,x+14,y-2);
      stroke(126,211,247);
      line(x+22,y+2,x+19,y+6);
      line(x-9,y+13,x-5,y+15);
      line(x+14,y+22,x+20,y+25);

    }
    }
    noLoop();
}

I’m not completely satisfied with this iteration but I’m proud of the overall visual result. As you can see in my sketchbook (will upload soon), I originally wanted to attempt a more complex shape, however after trying multiple times to create Shrek, I was unable to get it to how I wanted it to look, so I changed my idea.

Out of all the projects we’ve done thus far, I am not as proud of this assignment compared to the other ones, I hope in the future I can improve on the skills that can be used through nested functions. I hope by the end of this class I will be able to create Shrek.

Mimi Jiao – Looking Outwards 5 – Section E

Eggy (1990)
Created using custom algorithm derived from repetition in nature

Yoichiro Kawaguchi is a well known pioneer in the field of Computer Graphics since 1975. He is best known for his “GROWTH Model” and “metaballs,” which are algorithms that he developed from growth patterns in natural forms like shells and plants. These algorithms have helped him create and animate many life-like and fluid-like forms through coding. Although created in the 1900s, I am really intrigued by his algorithm generated works such as Eggy (1990) and Festival (1991). First off, the colors and texture of the works really capture my attention. I personally really enjoy a wide range of bright, saturated, and neon colors, and his work perfectly includes those colors. In addition, through his algorithms, he creates a very life-like and three-dimensional structure that almost pops out of the page. Eggy in particular embodies this three dimensionality really well, as it looks like the shapes are reflecting light. Each element is rendered with such attention to detail and nothing is left unfinished. The colors and texture perfectly transitions into one another. His other piece, Festival, continues on the same trail of colors, but this time, he took a more primitive approach to rendering the elements. Kawaguchi left out most of the reflective quality in Eggy and began to explore creating depth through contrast of form, contours, and colors. This really caught my attention as I am also currently experimenting with creating three dimensionality through contrast in color and form. Overall, his pieces really give off a psychedelic vibe and I am left wanting to see more. Something I want to see more of is how he would approach these works in the current time. He has definitely been able to develop his algorithms more and I want to see how he would interpret these past works with his current skillset and code. In addition, since many of his pieces are quite old, I want to see how they would look animated. Eggy and Festival already look so three dimensional; it would be crazy to see how that would translate when these elements are visualized traveling through time and space. These works really inspire me and it is close to what I want to create, so I would love to see more of his work as well as his process.

Eliza Pratt – Project 05

sketch

/*
Eliza Pratt
Section E
elpratt@andrew.cmu.edu
Project 05
*/

function setup() {
    createCanvas(600, 500);
    background(103, 196, 92);

    //ladybug placement
    for (y = -5; y < height; y+=35) {
        //even rows
        if (y%2 == 0) { 
            for (x = 15; x < width; x+=30) {
                ladybug(x, y);
            }
        }
        //odd rows
        else {
            for (x = 15; x < width; x+=30) {
                ladybug(x - 15, y);
            } 
        }
    }
    noLoop();
   }

//draws ladybug
function ladybug(x, y) {
    push();
    translate(x, y);

    var headW = 30; //size of head
    var bodyY = y + 20; //body origin
    var bodyW = 50; //size of body

    //head and antenna
    noFill();
    strokeWeight(2);
    arc(x, y - headW*(2/3), headW, headW, 0, PI);
    fill(0);
    ellipse(x, y, headW, headW);

    //body
    noStroke();
    fill(255, 0, 0);
    ellipse(x, bodyY, bodyW, bodyW);

    //wing line
    stroke(0);
    strokeWeight(2);
    line(x, bodyY - bodyW/2, x, bodyY + bodyW/2);
    
   //spots 
    fill(0);
    ellipse(x - 15, bodyY, 8, 8);
    ellipse(x - 10, bodyY - 15, 8, 8);
    ellipse(x - 8, bodyY + 15, 8, 8);
    ellipse(x + 15, bodyY, 8, 8);
    ellipse(x + 10, bodyY - 15, 8, 8);
    ellipse(x + 8, bodyY + 15, 8, 8);

    pop();

}

This was the first time I’ve created a function to help with my code! I was trying to find a way to have the individual ladybugs rotate at random angles, but I got too confused. I probably wouldn’t put this wallpaper in my house, but maybe it would make a nice paper napkin print?

Early sketches:

Jenny Hu — Looking Outwards 05

project titled 227 :: blooming thoughts, created in blender
post titled 234 :: breeze
post titled 395 :: testing

 

 

 

 

 

 

Agatha Yu is a Designer at Oculus. Most of her non-Oculus related though exists on her  Instagram where she frequently posts 3D Graphic Art. I think what I admire a lot about her work is the ability to bring her personality and her childhood into the art she creates. The sensibility placed in the motion creates a style that is both grounded in reality while also being completely fictional.

I think this really speaks to the power of generated 3D realities (especially within the realm of VR), and the opportunities it brings to establish new perceptions of physics, the way things work together, and the interactions we can have with objects and the digital realm.

 

Looking Outwards 05

I was very excited to see that this weeks topic was 3D generated graphics because I have always been very interested in fractals. In concept, fractals are rather simple to wrap your head around, but they can quickly become extremely intricate and complicated. Thus there are many programs on the web to generate them and I have perused for years.

Ok so my favorite one overall because it has some really cool GPU accelerated advanced ray tracing pretty picture features is Mandelbulber. This one has stuff like volumetric fog and advanced reflections as well as some really cool volumetric lighting.

Another really good one, which I think has a much better preview mode (and therefore is better for laptops) is Mandelbulb3d. This one has some really cool features like the ability to slice fractals (which allows them to be reconstructed into 3d models. It also has a powerful hybrid engine which allows for fractal combinations.

Mandelbulb Accretions of Fungal matter

I really like Mandelbulb in particular just because it introduces the concept of fractal generation in a very simple to use software so virtually anyone can create 3D fractals and artwork.

Project 5: Wallpaper

sketch

/* Jaclyn Saik 
Section E
jsaik@andrew.cmu.edu
Project-05-Wallpaper
Eyeballs
*/

function setup() {
    createCanvas(600, 600);
    background("CadetBlue");
    var xs = 70; //x spacing
    var ys = 50 //y spacing
    var yo = 30; //y offset
    var xo = 30; //x offset

    
    for (var y = 0; y < 20; y++) {
        for (var x = 0; x < 20; x++)  {
            if (x % 2 > 0) { //odd-numbered rows are offset by 1.5 times the y position 
                yo = 30 * 1.5;
                //sleepy eye
                strokeWeight(4);
                stroke("DarkSlateGray"); 
                line(px-3, py-3, px-20, py-15);
                line(px-4, py-3, px-25, py-10);
                line(px-5, py, px-28, py-3);
                strokeWeight(2);
                line(px+20, py+2, px+10, py+10);
                fill("Burlywood");
                arc(px, py, 40, 40, PI, 0);
                fill("PeachPuff");
                arc(px, py, 40, 20, PI, 0);
                arc(px, py, 40, 12, 0, PI);
                fill("DarkSlateGray");
                ellipse(px, py-5, 10, 10);

                //accent dots, which are connected to the odd-numbered rows, so sleepy eyeball
                strokeWeight(0);
                fill("Yellow");
                ellipse(px-35, py-35, 2, 4);
                fill("gold");
                ellipse(px-12, py-30, 3, 3);
                fill("Orange");
                ellipse(px+45, py-15, 4, 3);
                fill("Khaki");
                ellipse(px+30, py-20, 3, 3);

            } else if (x % 2 == 0) { //even numbered rows stick to original variable values
                yo = 30;
                //wide awake eye 
                strokeWeight(2);
                line(px-4, py-3, px-28, py-7);
                line(px-5, py, px-35, py-3);
                fill("PeachPuff");
                arc(px, py, 40, 40, PI, 0);
                fill("AliceBlue");
                arc(px, py, 40, 30, PI, 0);
                arc(px, py, 40, 20, 0, PI);
                fill("Sienna");
                ellipse(px, py-3, 17, 17)
                fill("DarkSlateGray");
                ellipse(px, py-3, 7, 7);

                //some fun text! 
                textSize(7);
                strokeWeight(1);
                text("z z . . ", px+12, py-27);

            }
            var py = yo + y * ys; //position y is y offset plus y multplied by spacing
            var px = xo + x * xs; //position x is x offset plus x multplied by spacing
            

        }

    }
    noLoop(); //so that it is static
}

 

This project was really fun to do, probably because it’s exciting to see what a design looks like when the visual elements repeatedly interact with themselves across a page. I was inspired by wallpapers that were loud and intrusive, since I felt like the broke the classic look of something appealing and ornamental, and would be something I would be more likely to put in my own home. I found an image online from an artist who creates odd, curious designs.

Inked eyeball wallpaper design

I wanted to see if I could create something on the same subject matter, but with a different, more computed aesthetic. I played a lot with stoke weights and colors to achieve the final look that I wanted, and got to experiment using text as an ornamental feature. I had to be careful with the text and make sure it didn’t say anything that would be irritating if repeated often. I used what I learned Assignment 05-B about offsetting grids in order to alternate the spacing between rows, which I think makes the wallpaper flow better when looking at it from far away.  Here are some of my initial sketches for decided what type of eyes to include.

My crude sketches

Emily Zhou –– Wallpaper

sun & pyramid

var sideL = 80; // side length of each square tile

function setup() {
    createCanvas(400, 480);
}

function draw() {
    // blue background
    background(142, 154, 175);
    // green triangles
    for (var y = 0; y <= height; y += sideL) {
        for (var x = sideL; x <= width; x += sideL) {
             fill(174, 181, 171);
             noStroke();
             triangle(x, y, x - sideL, y + sideL, x, y + sideL);
        }
    }
    // tan triangles
    for (var y = sideL / 2; y <= height; y += sideL) {
        for (var x = sideL / 2; x <= width; x += sideL) {
             fill(229, 211, 197);
             noStroke();
             triangle(x, y, x - sideL / 2, y + sideL / 2, x, y + sideL / 2);
        }
    }
    // orange triangles
    for (var y = sideL / 2; y <= height; y += sideL) {
        for (var x = sideL / 2; x <= width; x += sideL) {
             fill(229, 162, 126);
             noStroke();
             triangle(x, y, x, y + sideL / 2, x + sideL / 2, y + sideL / 2);
        }
    }
    // 3/4 circle
    for (var y = sideL / 2; y <= height; y += sideL) {
        for (var x = sideL / 2; x <= width; x += sideL) {
             fill(237, 238, 192);
             noStroke();
             arc(x, y, sideL / 2, sideL / 2, 3/4 * PI, 1/4 * PI);
        }
    }
    noLoop();
}

My wallpaper is meant to be an abstract representation of the sun rising behind a pyramid. I vaguely remember seeing a wallpaper at a museum that represented the Pyramid of Giza using two like-toned triangles. Starting with that idea, I played around with layers of overlapping shapes and colours.

In the process, I found it much easier to control the shapes’ position after setting a tile length variable. I am happy with the way it turned out using just triangles and one circle per tile. Even though I like the abstraction and simplicity, I’d like to explore more organic forms in future projects.

Rachel Lee- Looking Outwards 05- Section E

Michael Theodore’s robotic scratchboard drawings was a project done in collaboration with engineers at the Boulder Engineering Studio. The artists created and programmed a robotic arm via code to etch unique line and pattern formations of black ink into white clay. I really admire how Theodore was able to emulate the gestural and whimsical quality of hand drawing, without having mechanically generated drawings appear as too stiff, and even taking the potential of 3D drawing further than the human hand could produce via texture, pattern and rhythm. I think that Theodore was able to effectively use technology to push the boundaries of his own thematic interests (the human perceptual experience), by harnessing the capabilities of robotics to depict sensitivities and intricacies. Further, the artist’s sensibilities are evident based on the density and thickness of strokes, which create dynamism and movement within the composition.

84929.78469 by Michael Theodore and Boulder Engineering Studio (2014)

 

Jenny Hu — Project 05 Wallpaper

sketch

//Jenny Hu
//Section E
//jjh1@andrew.cmu.edu
//Project 05

var x = 0;
var y = 0;
var tileWidth = 42;
var ellipseW = 10;
var arcW = 2;
var width = 40;
var height = 40;
var ox = 20;

function setup() {
    createCanvas(480, 480);
    background(0);
    angleMode(DEGREES);

    for (x = 0; x <12; x++){
        var evenOrOdd = x%2;

        if(evenOrOdd == 0){
            height = width + (sqrt(3)/2);
            //ellipse rows
            for (y = 0; y<12; y++){ 
                var placex = y*tileWidth;
                var placey = x*tileWidth;
                noFill();
                stroke(255);
                strokeWeight(1.2);

                for (var e = 0; e<12; e++){
                    var scale = 5
                    ellipse(placex+tileWidth/2,placey+tileWidth/2, 
                        ellipseW+(e*scale), ellipseW+(e*scale));

                }
        }
    }
        
        //lace rows
        if(evenOrOdd != 0){ 
            height = width + (sqrt(3)/2);
            for (y = 0; y<12; y++){
                var placex = y*tileWidth + (ox/2);
                var placey = x*tileWidth;
                var scale = 4;
                noFill();
                stroke(255);
                strokeWeight(1.5);

                //upward lace arc
                for (var e = 0; e<10; e++){
                    arc(placex + tileWidth/2, placey + tileWidth/2, 
                        arcW+e*scale, arcW+e*scale, 180, 0, CHORD);
                    arc(placex, placey + tileWidth/2, 
                        arcW+e*scale, arcW+e*scale, 180, 0, CHORD);
                }

                //downward lace arcs
                for (var s = 0; s<5; s++){
                    arc(placex + tileWidth/2, placey + tileWidth/2, 
                        arcW+s*scale, arcW+s*scale, 0, 180, CHORD);
                    arc(placex, placey + tileWidth/2, 
                        arcW+s*scale, arcW+s*scale, 0, 180, CHORD);
                }
        }

        }
    }
    noLoop();
}

I wanted to replicate and play with a sense of three-dimensional texture by overlaying moire patterns once again. Building off of one of the assignments, I thought it would be nice to replicate fabric, and drew inspiration from lace dresses (see below). For the sake of contrast, the background is black, but I’d love to see this extended into a variety of more complex patterns in the future.

This dress is from river island. I liked the simple rows that present layers of white fabric on top of one another.

 

 

Elena Deng-Looking Outwards 05

I chose to look at the snow in the movie Frozen. I have always admired how the creators were able to brave the task of creating a realistic looking snow. In high school, my teacher was involved with this project and since watching the movie it became apparent how real the snow looked and acted compared to the snow animations in other movies. The animators explain that they used a method where they created very small particles of snow and assign them a random volume and size. After factoring velocities as well as collision variables for each of those particles, the grain of snow is then able to move. Another amazing spect that was taken into consideration was the different consistences of snow in different situations and temperatures. With the snow they were able to use it as a narrative cue within the movie—much of Elsa’s emotions are manifested through the snows’s velocity and color.

Story Credit: geek.com