Processing By Yvonne


boolean press1 = false;
PFont mytext;
int d = 80;

//rainbow background
void setup() {








void draw() {
if (mousePressed) {
press1 =true;
fill(random(120,250),random(0,90),random(180,240));//random colors for NYU
mytext = createFont("Jokerman",random(10,32));//font and size
text("NYU",mouseX,mouseY);//move with mouse


Draw “NYU” on rainbow background.



Sharon’ lab#2 processing

So today I basically did the processing, using 2D primitive shapes, variables and conditionals to do some drawing. It was a hard time. I found the materials from the website” These are the resources I got.屏幕快照 2014-02-28 上午10.39.56屏幕快照 2014-02-28 上午10.34.12

Also I learnt that (255,200,200) refers to color pink.

The thing I want to make is like, when not click the mouse, it will draw in white, when clicking  the mouse, it turns to black, and if you push the “r”, it turns to be pink. Here are my results.屏幕快照 2014-02-28 上午11.04.10 屏幕快照 2014-02-28 上午11.04.12

屏幕快照 2014-02-28 上午11.04.37

I still have many questions but I did enjoy the process of doing it. Hopefully I can do better and learn more the next time.

Jacko Walz’s Processing Lab 1 (IMA Lab 3)

For my first lab with Processing, I attempted to create a code which, when implemented, allowed the user to draw a line on the screen. Additionally, I wanted to make it so scrolling the mouse-wheel/trackpad changed the font of the line. I quickly found out this was much more ambitious than I had predicted.

After searching the internet, I found a way to incorporate the function “mouseWheel” into my code. From there, I assigned the position of the wheel to a variable to gauge just how far up/down the user had scrolled. This is when it got difficult, because I needed to link up the computer reading the scroll to the actual stroke weight.

After a good amount of help from both Vivian and Matt, I was able to finally get it to work! And it ended up better than I had thought it would.

Matt gave me the idea to present the gauge of the font size on the screen, so the user, in the process of drawing, would always see the stroke weight. This created some difficulties, as the gauge would write over itself, creating a blur.

So Matt and I created a rectangle of the same color as the background to house the gauge, providing it with enough space to easily track from 0-999 size. I capped it at these values because a negative stroke weight made the software crash, and anything with 4 digits took up too much room for the rectangle.


Here is the code in its entirety:


boolean mouseDown = false;
color strokeColor = color(0, 0, 0);
int strokeW;
int up, down;

void setup() {
size(600, 800);

up = 0;
down = 0;
strokeW = 1;

void draw() {
rect(108, 97, 28.5, 25);
text(strokeW, 100, 100);


if (mouseDown) {
line(pmouseX, pmouseY, mouseX, mouseY);


void mousePressed () {
println (“mouse pressed”);
mouseDown = true;

void mouseReleased() {
mouseDown = false;

void mouseWheel(MouseEvent event) {
float e = event.getAmount();
//e is the scroll ‘quantity’ in essence//

if (e>0) {
//when e is positive, stroke weight goes up//

if (e<0) {
//when e is negative, stroke weight goes down//
if (strokeW999) {



Screen Shot 2014-02-28 at 4.34.38 PM Screen Shot 2014-02-28 at 4.34.52 PM Screen Shot 2014-02-28 at 4.35.05 PM Screen Shot 2014-02-28 at 4.35.29 PM

Understanding Comics Response

Understanding Comics is an interesting book as it serves to deconstruct comics as a medium of expression while simultaneously presented in comic book form. I think this was a good choice on the author’s part as it enforces the thesis: comics can be more than one’s original perception.

One of the most thought provoking points that author Scott McCloud makes is that comics are intentionally simplified artistically so they become more universal. McCloud remarks that connecting basic drawings to an individual is not a difficult process as people are “a self-centered race.” Indeed, people can find human imagery in everything from electrical plugs to cars. McCloud makes many parallels between more traditional forms of literature and comics, but his reference to universality is especially unique as many modern books are heavily criticized for having “universal” characters.  In essence, McCloud argues that one of the benefits to having comics as a medium is that readers can easily insert themselves vicariously, while books with vaguely described characters are not received well.

McCloud also debunks some misconceptions. , McCloud forces the people who find comics modern and childish to consider ancient evidence of “comics.” One of his key points is the difficultly in defining what exactly a comic is. If it is indeed a series of sequential images which tell a story, then numerous works can fall under the often scored category of comics.

As a fan of cartoons and comics myself, I find myself easily persuaded by McCloud’s writings. Some of the most moving stories I have experienced have been in cartoon form, and I would definitely argue that the medium did not detract from the message. I fully understand the struggle of explaining a cartoon’s emotional depth as people, upon hearing or seeing the medium, automatically discredit it.


new understanding on comics

As a big comic fan, I should say that this is the most interesting textbook I have ever read. I read a lot of comics, so what the author is telling us is not a big surprise for me. But there are a few things refreshed my understanding about comics. In the past hardly have I ever thought them as a form of art. I used to regard comics and animations are quite similar. I used to regard comics as a series of screenshots of a certain animation. However, after I read this book, I realized that these two are quite different. In comparison to animation, comic is more abstract. It let the readers involves more. The readers need to use their brain and take part in the process of telling a story. Comics have more interaction with the readers. Although we are looking into small pictures, but the comic lead us to paint a larger, wider world in our mind.

Another thing that surprises me is that is the organization of the panels and frames. For example, I notice that there is a page about how the width of the frame effects on the time. I never thought that this could be a big deal when I was reading comics. But in fact these subtle little stuffs matters a lot on our reading experience and those artists must put so much effort on them. It’s not easy. Sometime people may think comic artist is a humble job compared to writers or directors, because they fail to see these deep quality and deep efforts the artist made in comics. Knowing these, I love comics more.

Appreciation for Art of Different Mediums

Comics have always been a particular thing for me to note. While it hasn’t always been prevalent in my life, I have encountered them plenty of times. Growing up, I seldom read comics. I did start getting into them more as I got older, but I never really appreciated them for what they were. Considering them as art was something that hasn’t really come into consideration for me until I read McCloud’s book. Even when I took Art History as a class in high school, there wasn’t any mention towards them. Reading through the book, I realized how much an “Invisible Art” form that comics really are. The closest thing that I can associate with comics is pop art, which I did study, but here’s the interesting part about comics (obvious depending on the style that the artist draws in): They are a bunch of images that go in order to tell a story. However, they’re a bunch of them of a particular style all put in to tell a story. How it differs from other pieces of art is that it follows a certain sequence in order to tell a story. While certain other pieces tell their story via an interpretation, comics are a bunch of those pieces grouped together to make a story. This book was really good for me to appreciate how substantial comics really are because now I realized how much detail and work that goes into each specific image. Previously, I would read comics and not appreciate how much work each image would take. It’s the process of creating the story that makes comics so awesome. Also it’s really cool to see how natural your eyes just follow along with the story. It’s not hard to see which strip is next, even with different sizes. You can just kinda tell which is to go where next!

This book disrupts comics in my mind

To be honest, I would never think I would love comics some day before I read Scott Mccloud’s book “Understanding Comics The Invisible Art”. Living in a world filled with Japanese animation telling boring stories and even pornographic comics on the Internet, I was inclined to avoid all kinds of comics and animation, let alone  admitted it is a kind of “art”. If someone have told me comics is art, I would definitely say “Are you kidding me? No way!”

The 4 chapters’ reading task, half of a book, I thought, would be a huge and tough task for me to tackle. But as I read further, I started to love this book and literally could not put down this book. I have to say this book changed my view towards the whole comics industry. I get to know the general history of how comics is developing and am so surprised that sequential pictures may date back to 16th century in Egypt. The concept of “icon”, the vocabulary of comics,also intrigues me a lot. In a computerized and digitized world, we have to use icons a lot in our daily work and interpersonal communication and icons do help us convey our messages and ideas a lot. Like emoticons we use in our online chatting, eg. :), :P, *^_^* ,囧, these icons actually are much more stronger than words in terms of expressing our ideas and emotions. That is also one reason why sometimes comics convey ideas and messages more clearly and easily than words.

Can’t wait to learn more about comics!

Comics Have Changed My Worldview

Scott McCloud’s Understanding Comics surprisingly changed my worldview as a visual artist. As it was humorously educational about the broader definition and history of comics, it also very boldly and concisely opened my eyes to a clear structure for evaluating visual artwork. In doing so, McCloud helped me understand my own place as an artist in this world, and where I could go next to take my art even further.

What was most powerful to me in this reading was McCloud’s step by step visual explanation of how an artist travels from reality to abstraction. I have to admit that before this reading, I was one of those people who walked into a museum and looked at Mondrian or Kandinsky or a huge white painted canvas and said “WTF. Why is this hanging here?” But after getting a grasp for McCloud’s concept of “the picture plane,” I could literally see how omitting physical appearance can better convey concept, and lead viewers to a more universal or subjective viewing experience. Likewise, I could see how the closer an artist gets to replicating the physical world through realism/detail, they can better portray the beauty and complexity of the physical world, though it creates a very objective experience for viewers.

Why this reading was so important to me is because I am a surrealist/attempting realist, but my art never felt like I had a purpose or concept behind it. My only purpose was to get closer to perfection, though the kind of art I truly admired was conceptual contemporary art–something I had no understanding of how to achieve until now. Seeing as I am pretty far to the bottom left of McCloud’s pictorial vocab of visual art, I now aim to move more towards the center by clinging less to objective icons/objects of obvious meaning. Maybe this transformation will even help me grasp how to get my ideas across with less work and more thought in all my forms of communication (art, design, writing, speaking, etc).

There was a lot of unexpected but truly useful techniques of visual communication in this reading, I can’t wait to finish it. I really feel how true it is that showing is better than telling!

Below are two of my artworks I want to start with redoing in more abstracted styles.

Cali Ladybug R


attempted surrealism with Oil on canvas (2010)

attempted surrealism with Oil on canvas (2010)