The Sierpinski Triangle is a fractal set. It is infinitely detailed and self-similar. There are many, many ways to generate a Sierpinski Triangle. The amazing sierpinski triangle page to end most Sierpinski triangle pages details many of them.
Q: Can the computer substitute for the Designer?
A: Probably, in some special cases, but usually the computer is an aid to the Designer.
— Charles Eames, Design Q&A (Transcript)
This is a class about computational form, algorithmic images, generative art, parametric design, and procedural generation. In this class, we will explore a creative process in which form is made by following defined processes. We will write instructions that a computer will follow to create images, animations, sounds, and sculptures. We will make things that make things.
There are many reasons artists and designers employ algorithmic methods, some important ones include:
While we use computer programming throughout this class, it is important to understand that procedural generation is about defining instructions that create form. Computers are very useful tools for carrying out these instructions, but artists have also built systems that rely on humans or purpose-built machines instead.
I am Justin Bakse. I am interaction designer and teacher at Parsons. This is my site. I am personally very interested in computational form and have used computational methods in a great deal of my work.
Computational Form is form (image, animation, music) that results from following a set of instructions.
In this class, we will make things that make things. We will work with a variety of programming languages, tools, and methods to create a wide variety of output: graphics, sounds, videos, animations, even 3D printed objects. The primary goals of this class are to introduce new ways of making and to encourage aesthetic exploration.
Along the way we’ll use a variety of programming languages and tools:
We will also explore some interesting programming topics including:
This class focuses on exploration. Each class introduces a new topic or tool, usually with an in-class workshop. Throughout the week you will be expected to create daily sketches/experiments related to that topic. This emphasis on this class will be on personal exploration, learning to learn, and process rather than outcomes.
Your goal each day should be to explore a different aspect of the weekly theme. Ideally, you will spend 1 to 2 hours on an idea, resulting in an image or other artifact. Each day you will work on a different idea, possibly informed by something you did early in the week/class.
So I have to post something every single day?
The spirit of the assignment is daily practice, with some flexibility. Five posts a week that explore the weekly theme in a variety of ways is considered “A” work.
What if I miss a day?
That is fine, spend more time on another day and post twice.
Can I spend, say, 8 hours all on one day? Maybe I’ll pull an all-nighter.
Don’t do that. This process is about exploring different ideas. Spacing out your work gives you time to think. Creativity often comes in the space between acts.
What if I make something I like in 15 minutes?
Post it. Then keep working. Post again.
What if I work for a couple hours and don’t really like what I’ve made?
Post it. Then stop working. Try something different tomorrow.
1 to 2 hours is too short. Can I work longer?
If after an hour, you feel excited about what you are doing then keep working or make an in-progress post and build on it the next day. If you are frustrated, just post what you’ve got and move on.
Don’t ever put more than 2 hours into a frustrating sketch. Just post what you’ve got and start fresh on something else the next day.
If you find you often need more than an hour, you might be trying to make things that are too complex.
Can I post a work in progress and keep working on it tomorrow?
Yes. But don’t work on one thing the whole week. Sketch a variety of ideas each week.
I can’t decide what to work on today.
If you have more than one idea, just pick one at random. Don’t change your mind, just run with it. You are only investing an hour or two. If you have no ideas, review the class notes, do some Google image searches, be open to any idea that pops up. Just run with the first bad idea.
I can’t get whatever technology we are working on this week to work; my computer is broken; I missed class and I’m lost; I’m just lost this week. What should I do?
Keep posting. If you can’t do exactly what you want, find something close that you can do and do that. Most weeks you could do pretty interesting projects, that relate to the weekly themes, without even using a computer.
I’m tired of looking at the computer screen? Can I do a couple of posts with paper/paint/glue/wood/whatever?
Absolutely. I highly recommend that you do! The more variety between your posts the better. Do make sure that your work relates to the weekly topic.
What about in class work?
Some weeks we’ll have time set aside in class to make something, some weeks we won’t. If we do start something in class, you can finish it after class and post it as one of your sketches.
Bottom line, how much time do I have to spend on these sketches?
90 minutes is ideal.
Don’t put more than 2 hours in on a sketch. If your sketch takes that long it is too complex, or too difficult for your current skill level. It is okay to stop at 2 hours even if your sketch is broken. Post whatever you have, you’ll get full marks for the sketch.
Don’t put in less than 45 minutes. Sometimes, you’ll make a really nice sketch pretty quickly. If that happens, post it! But keep exploring variations on your idea. If you often get done very quickly, you probably need to work on more challenging sketches.
Coming into this class, you should:
That said, this class offers a good deal of flexibility. If you are not sure if you are ready for this class, please speak with me today to make a plan.
Please review the syllabus here.
Our class sketch blog will host your daily experiments and links to content of interest to the class.
A few things I’d like to know about the class:
Top matches bottom, left matches right.
Top matches bottom, left matches right. Alternate tiles used to break up pattern.
Top matches bottom, left matches right. Rotated tiles still match up.
See also: Truchet Tiles
A set of tiles where the sides of each tile match up to the opposing side of another tile in the set. Edge-matched tiles are great for forming lines.
One way to create a tile set is to consider each edge to be one of two states: occupied or empty. Since there are 4 sides, and each has two states, there will be 4^2 = 16 tiles in the set.
Depending on the design, some of these tiles may be rotations of other tiles.
In those cases, a smaller set will still work.
With a set of tiles, you can start creating forms.
A wide variety of looks can be created.
See also: Wang Tiles
You can also create a set by considering the corners to be empty or occupied. Corner-matched tiles are great for forming shapes.
Create and edge-matched tile kit. Use markers on paper squares. Make up a design that allows rotation, this is faster to draw out than a full set. Once you have made your kit, use it to create a variety of forms. Try building out each letter in the alphabet.
The image below shows which tiles you need to make, and how many to make of each.
After playing with your set, start experimenting however you wish. Before the end of the class take a picture of your work and post it the class sketch blog.
This is the first assignment and the beginning of your daily posts.
Explore a different idea every day, if you need some ideas consider using one of the following as a prompt. If you use one of these prompts, include it in your blog post.
For more ideas: Brian Eno - Oblique Strategies, Oblique Strategies Online
Create a font: design a full alphabet using a single tile set. Post an image that shows your font in use.