Albers as a Millennial (SeattleJS)

Transcript

1. Albers as a Millennial Making Art with JavaScript
2. Opendoor Work Meetup WaffleJS Twitter @billyroh
4. But what about coding just for fun, with no clear end goal in mind?
5. http://www.albersfoundation.org/artists/biographies/ Josef Albers Born 1888 in Bottrop, Germany Died 1976 in Connecticut Born 1899 in Berlin, Germany Died 1994 in Connecticut Anni Albers (née Fleischmann)
8. http://www.albersfoundation.org/artists/biographies/
9. Homage to the Square Josef Albers
10. Homage to the Square is not a single work.
11. Homage to the Square is not a single work. It’s a body of work, with hundreds of pieces.
12. Homage to the Square is not a single work. It’s a body of work, with hundreds of pieces. There are some notable visual patterns though.
13. Most obviously, they’re a series of three or four nested squares.
14. And less obviously, they tend to come in two flavours:
15. And less obviously, they tend to come in two flavours: • Similar colour palette
16. And less obviously, they tend to come in two flavours: • Similar colour palette • Contrasting colour palette
17. Let’s take these two things and try to generate our own images. L a y o u t &
18. Sizes of the squares The smallest square is 40% of the size of the canvas. 40%
19. Sizes of the squares The following squares grow by 20% until they reach 100%. 40% 60% 80% 100%
20. Positions of the squares The second largest square is positioned 5% from the bottom of the canvas.
21. Positions of the squares The succeeding squares are positions in increments of 5% after that. (e.g. 10%, 15%) Colour Theory Break!
22. Colour palette Hues can be represented as this wheel.
23. Colour palette Analogous colours are hues that are close to one another on a colour wheel.
24. Colour palette Triads are hues that are roughly a third of the way away from one another on a colour wheel.
25. Colour palette These works would be called analogous.
26. Colour palette These works would be called triads(ish) because some of these hues are further away than others.
28. H S L 346 12% 74% First create a random colour. Set the colour’s lightness to be on the higher side. (60–90%)
29. H S L 346 12% 74% 312 15% 27% Then create another colour of a similar hue. Set its lightness to be low. (10–40%) These two colours are essentially the two ends of your spectrum.
30. H S L 346 12% 74% 334 13% 57% 323 14% 42% 312 15% 27% Then calculate the steps between these two colours.
31. H S L 346 12% 74% 334 13% 57% 323 14% 42% 312 15% 27% These four colours are now your analogous palette.
32. H S L 325 41% 84% 333 41% 45% First create two random colours of analogous hues.
33. H S L 325 41% 84% 333 41% 45% 73 58% 56% 72 52% 66% Take the first colour, then subtract to get the triad of that hue. Take that hue and generate two analogous colours.
34. H S L 325 41% 84% 333 41% 45% 73 58% 56% 72 52% 66% We now have a triadic palette.
35. But wait there’s more!
37. Stand back from this painting and look at the whole thing. Are the squares stacked on top of each other, like cut out pieces of construction paper? Are they sinking underneath each other, as if you are looking at a painting of a tunnel? Each painting explored the same basic question: can an artist create the appearance of three dimensions, using only color relations?
38. Josef Albers explored this question with his medium: canvas and paint.
39. Josef Albers explored this question with his medium: canvas and paint. How can we explore this further in our medium: JavaScript?
40. Rotate TranslateX TranslateY
41. The smaller the square, the bigger the effect.
42. Get Coordinates Recalculate Redraw
43. 0 50 100 50 100
44. 0 50 100 50 100 -1 0 +1 0 +1 75, 13 0.5, -0.25
46. Get Coordinates Recalculate Redraw Output: scaled x, y
48. 95 This function rotates each square, such that: • The smaller the square is, the more it rotates. • The closer the cursor is to the edge of the composition, the more the squares rotate.
49. 95 The same principles apply to these translation functions here.
50. Get Coordinates Recalculate Redraw Output: scaled x, y Output: new x, y, rotation
55. Fox II Anni Albers
56. If you look at this pattern closely, you’ll see it’s a random grid of triangles. Grid Pattern
57. If you look at this pattern closely, you’ll see it’s a random grid of triangles. Grid Pattern
58. If you look at this pattern closely, you’ll see it’s a random grid of triangles. Grid Pattern 1 2 3 4
59. Random Number Triangle 4 2 1 3
60. Random Number Triangle 4 2 1 3
61. If we create one svg polygon for each triangle, we’d end up with 900 polygons.
62. If we create one svg polygon for each triangle, we’d end up with 900 polygons. This make this less unwieldy, we’ll use svg path instead.
63. Move To Line Arc Curve Z (Close Pathz?)
65. `M 19 342` means start at the x coordinate of 19 and y coordinate of 342.
66. `L 38 342` means draw a line from the current point to 38, 342.
67. `L 19 361` means draw a line from the current point to 19, 361.
68. `Z` means you’re finished drawing this shape, which closes it.
69. We repeat this and append it to a single string to create a single path.
70. The colour palette here is analogous too. Palette & Layers
71. She also had many works with bright, complementary colours. Palette & Layers
72. But wait there’s more!
75. Shadows move in the opposite direction of the light source.
77. The window and the shadow translate in opposite directions.
78. Because it’s closer, the effect is more pronounced for the window.
80. Recalculate Redraw Get Coordinates
81. Alpha Beta Gamma [0, 360] [-180, 180] [-90, 90]
82. Beta will handle translateY.
83. Gamma will handle translateX.
84. Beta Gamma [-180, 180] [-90, 90]
85. Beta Cursor Scale Min i - 90 0 -1 Max i + 90 width +1 Gamma Cursor Scale Min i - 45 0 -1 Max i + 45 width +1 Limit the range to get the animation without effort.
87. First record the initial beta and gamma values. This will be the base for our range.
88. We then use these initial values to create a scale that maps to the width of the element.
89. We use the scales to calculate values for the animation function, which expects a value between 0 and the width of the element.
91. Orchestra Anni Albers
92. When you look at this piece, you can see that it’s a grid of 23 by 25. Grid Layout 23 25
93. 23 25 For each point in the grid, there are 4 different configurations of lines. Grid Layout 1 2 3 4
94. Random Number Line 3 1 2 4
95. Random Number Line 3 1 2 4
96. The colour palette in this piece is simple and high contrast. Palette
97. H S L 0 0% 2% 60 14% 91%
98. Other similar pieces have low contrast, with analogous colours. Palette
99. H S L 24 21% 72% 31 31% 48% 251 15% 36%
100. But wait there’s more!
101. Palette We can achieve a sense of depth by putting each line type in its own group.
102. Palette Horizontal lines in a single group.
103. Palette The top-right to bottom- left lines in a group.
104. Palette The top-left to bottom- right lines in a group.
105. Foreground Midground Background
106. Foreground Midground Background
107. Foreground Midground Background
108. Foreground Midground Background
109. The closer the layer, the bigger the 3D rotation and translation.
111. Here we’re stating that the foreground layer should rotate by 15 degrees. The midground should rotate 90% of that (13.5 degrees), and the background should rotate 90% of that (12.15 degrees).
112. Apply a simple linear scale for each layer.
115. The application of colour theory with HSL. The creation of generative compositions with SVG paths. The deepening of depth with translations and rotations.
117. billyroh.com/albers Demo & Source Twitter @billyroh