Mostrando entradas con la etiqueta ARTE. Mostrar todas las entradas
Mostrando entradas con la etiqueta ARTE. Mostrar todas las entradas

26.1.13

Charla de Bio-Arquitectura: 29E 2013

Charla de Katia Zolotovsky en Universidad Adolfo Ibañez:

El día Martes 29 de Enero la escuela de diseño de la Universidad Adolfo Ibañez invita a una charla de Katia Zolotovsky   La bióloga y arquitecto actualmente investigadora de MIT presentará “BioFrabrication: The Interplay Between Shape, Material, and Life”. 
La charla se realizará en la Sala Valparaíso del campus Errázuriz de la Universidad Adolfo Ibañez ubicado en Av.Presidente Errázuriz 3485 (Las Condes- Santiago). 
Más información sobre el evento aquí. 

¿Te atreves a soñar?

¿Te atreves a soñar?:
Salgamos de nuestra zona de confort y hagamos realidad esos sueños.

15.1.12

“La poesía es la yoga del lenguaje”

“La poesía
es la yoga
del lenguaje”

Experimentado y en su momento experimental poeta y artista visual, Alberto Blanco publicó recientemente El llamado y el don, en el cual reflexiona sobre la práctica del arte verbal y explora sus virtualmente infinitas posibilidades. Sin duda, un libro de madurez creativa.

La primera vez que el poeta y artista visual Alberto Blanco (1951) asistió a la Feria Internacional del Libro de Guadalajara (FIL) fue en 1999, cuando presentó un libro del arquitecto y escultor tapatío Fernando González Gortázar.

El año pasado, Blanco asistió a la edición 25 de la FIL a presentar su libro de poética El llamado y el don, editado por Marco Perilli en la nueva editorial Auieo e impreso en Guadalajara.

Entrevistado poco antes de presentar su obra, explica: “Tengo muchos años escribiendo y publicando poesía en revistas; mi primera publicación es de 1970, así que ya han pasado más de 40 años. En forma de libro, Giros de faros lo publicó el Fondo de Cultura Económica en su colección Letras Mexicanas, en 1979. Desde entonces han aparecido muchos libros de poesía; en México cerca de 30, y fuera del país bastantes, en distintos idiomas”.

Alberto Blanco recibió en 1988 el premio de poesía Carlos Pellicer con el libro Cromos, y al año siguiente el José Fuentes Mares por su libro Canto a la sombra de los animales, que contiene dibujos de Francisco Toledo. En 1996 recibió en Holanda el diploma Honor List de IBBY por También los insectos son perfectos.

Recalca que es la primera vez que publica un ensayo dedicado a la poesía. “No a tal o cual poeta –aclara–; no es un libro de crítica de poesía, es un libro de reflexión sobre la práctica de la poesía”. Agrega que durante muchos años hizo ensayos sobre artes visuales: “Digamos que hice mi tarea en el área del ensayo con las artes visuales por 20 años; no lo hago más, y en buena medida tiene que ver con concentrar toda la atención de mi reflexión en mi oficio, que es la poesía”.

Con más de 20 exposiciones colectivas y cinco individuales tanto en México como en otros países, Blanco escribió en el catálogo de la retrospectiva Visual poetry / Poesía visual que presentó en la galería The Athenaeum, en San Diego, California: “Más allá del nexo de la poesía, hay en estos trabajos un común denominador: el papel. (…) A fin de cuentas un escritor no se aparta nunca demasiado de la hoja en blanco”.

El también traductor y músico expresa que El llamado y el don tiene contenidos del budismo zen, del que es practicante, pero también “con mil cosas más”. Blanco se remite al índice del libro para señalar los temas que abarcan los 12 capítulos, entre ellos poesía y poética, Poesía y poesía, pasado, mito, lenguaje, conocimiento, tradición, escritura, traducción e inspiración.

Sin embargo, para él este libro es sólo una parte de un proceso de reflexión “que sigue creciendo. Las vetas, las aristas de una reflexión sobre la práctica de la poesía pueden ser muchísimas, casi podríamos decir innumerables, pero no me voy tan lejos: sencillamente reflexiono en que una escritura que de alguna manera arroje luz sobre lo que yo entiendo sobre mi proceso poético, por necesidad tiene que cubrir muchos campos, muchos puntos de vista, porque en mi propia poesía me he interesado en muchas cosas, y en muchas formas de escribir poesía”.

Enseguida menciona su reencuentro con un pequeño libro de poemas breves que publicó en 2001, titulado Más de este silencio. “La práctica del haikú –comenta– está íntimamente relacionada con el budismo; es una posibilidad, hay muchas posibilidades”.

Pianista y compositor, en los años setenta Alberto Blanco formó parte de la banda de rock La Comuna, y en los ochenta creó el grupo de jazz y música experimental Las Plumas Atómicas.

Acerca de su faceta como músico, comenta: “Me interesa mucho la música, sigo haciendo música, he tenido bandas. Mira, al principio del libro hago una breve dedicatoria que dice: ‘A la poesía: mitad imagen, mitad música, mitad poesía’.

“Un editor español vio la dedicatoria y me dijo: ‘Esto es imposible, un cuerpo no puede tener tres mitades; por definición un cuerpo sólo tiene dos mitades’. Sí, le dije, pero estamos hablando de poesía, la poesía puede tener tres mitades y más. Así que es una definición poética de la poesía, es decir, una definición imposible; pero no es un desatino, tiene que ver con las características esenciales de la palabra y del lenguaje: la capacidad de convocar a imágenes, a representaciones visuales”.

Abunda el poeta: “Si yo digo la palabra ‘árbol’, tú ves un árbol, el lector ve un árbol, yo veo un árbol, todos vemos un árbol; no sé qué árbol; yo sí sé cuál es el que estoy viendo, no sé cuál es el que tú estás viendo, pero tú también lo ves. Si te pido que lo observes con más atención quizá me empieces a decir si tiene muchas hojas o no, de qué color, en qué estación está. Pero esta capacidad de convocar imágenes es un rasgo esencial del lenguaje; otro rasgo esencial del lenguaje, de la palabra, es el sonido, ahora mismo lo estamos utilizando”.

Luego resume otros aspectos de esta actividad artística: “Uno, eminentemente relacionado en grande con todas las artes que tienen que ver con los ojos, con las artes visuales; otro, con las artes que tienen que ver con la música, y la poesía por fuerza está interesada en ambas vertientes: en las artes visuales y en la música; en mi caso de un modo muy descarado, no nada más como un interés sino como una práctica”.

Agrega: “Pero está la otra zona, que es la más misteriosa de todas por lo que respecta al lenguaje: el misterio de la palabra como significado. Ahí es donde nos topamos con lo más arduo de la poesía: la poesía como punta de lanza del lenguaje. En algún momento digo: ‘la poesía es la yoga del lenguaje; es el lenguaje cargado al extremo, danzando en los límites de lo imposible; reflexionando sobre sí mismo, extendiendo el campo de significado; haciendo y asiendo lo imposible’”.

Señala que muchas veces se utiliza la palabra poesía para significar distintas cosas: “Para hablar de lo inefable, de lo profundamente significativo, de lo sublime, e incluso, perdón por la palabrota, de lo trascendente o lo divino. Este libro no se avoca a ese aspecto de la poesía porque, desde mi punto de vista, de lo que no se puede hablar es mejor no hablar; trasciende por mucho nuestras posibilidades.

“Sin embargo, la otra acepción de la poesía, que yo llamo ‘con minúsculas’, es un arte que tiene que ver con el lenguaje, que tiene una tradición, en nuestro caso la de poesía escrita en español, de la cual algo podemos decir y que se manifiesta en estos objetos socialmente indeseables llamados poemas. Ya sobre los poemas empezamos a hablar de algo un poquito más concreto.”

Y concluye: “Este libro es una reflexión, modesta en este sentido, sobre las posibilidades del poema. ¿Qué podríamos decir de un poema? Podemos decir 10 mil cosas. Digamos que es una cajita de música construida con palabras que nos platica su propia historia. Y esta es una imagen como cualquier otra”.
Fuente

14.1.12

290 años de la publicación del primer periódico mexicano

290 años
de la publicación
del primer periódico mexicano
Hace 290 años, el primero de enero, se fundó el periódico más antiguo de toda Hispanoamérica: La Gazeta de México. En el continente americano, el único antecedente de una publicación de este tipo fue Publick Ocurrences, que salió alrededor de 1690 en las colonias norteamericanas.


Antes de la aparición de la Gazeta de México, que en el nombre guardaba la grafía italiana (lugar en el que se originan las primeras gacetas), las noticias en la Nueva España se difundían a través de las hojas volantes. Estas publicaciones con noticias se distribuían de mano en mano. Su aparición se daba solamente cuando ocurría un suceso de gran trascendencia. La hoja volante más antigua que se conoce se publicó en 1541 en las prensas del taller Juan Pablos, el impreso informaba de un terremoto sucedido en la ciudad de “Guatimala”. 

1666 se publica la Gazeta General. Sucesos de este año de 1666. Provisiones y Mercedes de los Reynos de España, Portugal y Nueva España, la cual apareció durante los siguientes dos años informando sobre los sucesos de cada año. Carlos Sigüenza y Góngora publica en 1671 sus Lunarios, alamanaques astronómicos con noticias curiosas.

La Gazeta de México, y noticias de Nueva España, aparece el primero de enero de 1722, publicándose de manera mensual hasta junio de ese mismo año. La gaceta, compuesta de ocho páginas, se pensó originalmente como una memoria de la corte virreinal. Para su cuarta entrega, el impreso cambió su nombre a Gazeta de México y florilegio historial de las noticias de Nueva España.

El editor de la Gazeta de México fue Juan Ignacio María de Castorena Ursúa y Goyeneche, nacido en Zacatecas en 1688. Se le reconoce como el primer periodista mexicano. Castorena fue uno de los defensores del derecho de Sor Juana Inés de la Cruz de realizar su labor literaria. A la muerte de ésta, preparó la edición y prologó la Fama y obras póstumas del fénix de México. En 1733 fallece Juan Ignacio María de Castorena en la ciudad de Mérida, Yucatán.

En 1728 apareció otro periódico que, bajo la edición de Juan Francisco Sahagún y Arévalo Ladrón de Guevara, retomaba el nombre de Gazeta de México. Este periódico se publicó hasta 1739, editando 145 números desde su aparición. En enero 1742 reaparecería la publicación, ahora bajo el nombre de Mercurio de México, durando hasta diciembre de ese año cuando cierra de manera definitiva.
De 1784 a 1810 existió una tercera edición que llevó el nombre de Gazeta de México. Bajo la dirección de Manuel Antonio Valdés y Munguía este periódico se convirtió en el de mayor duración durante el periodo colonial, publicándose de forma ininterrumpida hasta enero de 1810.

Fuente Homozzaping

"Poetry is the language of yoga"

"Poetry
is the language
of yoga" trGgl

Experienced and eventually experimental poet and visual artist, Alberto Blanco recently published The call and the gift, which reflects on the practice of verbal art and explores its virtually endless possibilities. No doubt, a book of creative maturity.
 
The first time that the poet and visual artist Alberto Blanco (1951) attended the International Book Fair of Guadalajara (FIL) was in 1999 when he presented a book of the architect and sculptor Fernando González Gortázar Guadalajara.
Last year, White attended the 25th edition of the IDF to present his book of poetry The call and the gift, edited by Marco Perilli in the new editorial Auieo and printed in Guadalajara.

Interviewed shortly before submitting their work, says: "I have many years writing and publishing poetry in magazines, my first publication is 1970, so it's been more than 40 years. In book form, published it Turns headlights Economic Culture Fund Mexican letters in his collection in 1979. Since then there have been many books of poetry, in Mexico about 30, and abroad a lot, in different languages. "

Alberto Blanco received the 1988 prize for poetry with the book Carlos Pellicer Cards, and the following year, José Fuentes Mares for his book Song of the shadow of the animals, which contains drawings of Francisco Toledo. In 1996 the Netherlands received the diploma of IBBY Honor List by insects are also perfect.

Emphasizes that it is the first time published an essay devoted to poetry. "Not this or that clear-poet, not a critical book of poetry, is a book of reflections on the practice of poetry." He adds that for many years made essays on visual arts: "Let's say I did my homework in the test area with the visual arts for 20 years, not doing more, and largely has to do with focusing the attention of my reflection in my office, which is poetry. "

With over 20 individual and five group exhibitions both in Mexico and other countries, White wrote in the catalog of the retrospective Visual poetry / visual poetry that appeared in The Athenaeum Gallery, San Diego, California: "Beyond the Nexus poetry in these works is a common denominator: paper. (...) After all a writer ever does not stray too far from the blank. "

The translator and musician also states that the gift is called and the contents of Zen Buddhism, which is a practitioner, but also "a thousand things." White refers to the index of the book to highlight areas covering 12 chapters, including poetry and poetics, poetry, and poetry, past, myth, language, knowledge, tradition, writing, translation and inspiration.

But for him this book is only part of a process of reflection "that continues to grow. The veins, edges of a reflection on the practice of poetry can be many, many might almost say, but I'm not that far: they simply reflect a script that somehow shed light on what I understand about my process poetic, by necessity have to cover many fields, many points of view, because in my own poetry I was interested in many things, and in many ways to write poetry. "

Then mentions his encounter with a small book of short poems published in 2001 entitled More of this silence. "The practice of haiku-says-is closely related to Buddhism, is a possibility, there are many possibilities."

Pianist and composer, in the seventies Alberto Blanco was part of the rock band The Commune, and in the eighties created the jazz and experimental music Atomic Las Plumas.

About his work as a musician, said: "I am interested in music, I'm making music, I've had bands. Look, at the beginning of the book do a brief inscription that says: 'A poetry: half image, half music, half poetry'.

"A Spanish publisher saw the dedication and said, 'This is impossible, a body can not have three halves, by definition, a body only has two halves'. Yes, I said, but we're talking about poetry, poetry can have three halves and more. So it's a poetic definition of poetry, that is, a definition impossible, but it is not nonsense, it has to do with the essential features of speech and language: the ability to summon images, visual representations. "

Abounds poet: "If I say the word 'tree', you see a tree, the reader sees a tree, I see a tree, we all see a tree I do not know what tree, I do know what I'm seeing is, I do not know which one you're watching, but you also see it. If I ask you to observe more closely what I might start to tell if you have many sheets or not, what color, what time is. But this ability to conjure up images is an essential feature of language, another essential feature of language, the word is the sound, right now we're using. "

After summarizing other aspects of artistic activity: "One big eminently connected with all the arts that have to do with the eyes, visual arts, the other with the arts that have to do with music, and poetry by force is interested in two aspects: the visual arts and music, in my case in a very brazen, not just as an interest but as a practice. "

He adds: "But there's another area, which is the most mysterious of all with respect to language: the mystery of the word as meaning. That's where we come to the brunt of poetry: poetry as the spearhead of language. At some point say, 'poetry is the yoga of language is the language charged to the end, dancing on the edge of the impossible, reflecting on itself, extending the field of meaning making and seizing the impossible.' "

He points out that often used the word poetry to mean different things: "To speak of the ineffable, the deeply significant, the sublime, and even apologize for the expletive, the transcendent or the divine. This book does not gotten down to that aspect of poetry because, from my point of view, what can not talk is better not to speak, far beyond our means.

"However, the other meaning of poetry, which I call 'lower case' is an art that has to do with language, which has a tradition in our case of poetry written in Spanish, of which something can say and that is manifested in these socially undesirable objects called poems. Already on the poems started talking about something a little more concrete. "

He concludes: "This book is a reflection, in this modest sense of the possibilities of the poem. What can we say about a poem? We say 10 thousand things. Call it a music box built with words that we talk their own history. And this is a picture as any other. "
 
Fuente:  

27.11.11

How To Create Web Animations With Paper.js

How To Create Web Animations With Paper.js




The Web is just starting to use animation well. For years, animated GIFs and Flash ruled. Text moved and flashed, but it was never seamless. Animations had boxes around them like YouTube videos. HTML5 canvas changes everything about Web animation.


The canvas element makes it possible to integrate drawings and animations with the rest of your page. You can combine them with text and make animations interactive. This drawing mechanism is powerful, but very low-level.


Animations get more power and need less coding when you combine the canvas tag with higher-level libraries such as Paper.js. This article introduces HTML5 animation and walks you through creating an animation of dandelion seeds blowing in the wind.


[Editor's note: A must-have for professional Web designers and developers: The Printed Smashing Books Bundle is full of practical insight for your daily work. Get the bundle right away!]

Neat Is Easy, But Messy Is Hard


Computers love clean. They make spreadsheets, do statistics and plot multivariate curves; they always color inside the lines.


In the real world, even simple things are messy. Leaves falling from trees, water splashing — all the little interactions around us feel simple because we’re used to them; but little bursts of wind are actually messy and unpredictable.


For this article, we’ll animate dandelion seeds blowing in the breeze.


Dandelions are tricky because we all know what they look like: we’ve touched them and blown their seeds off. Commonplace objects produce instant recognition and feelings. I don’t have to tell you what dandelions are — you just know. Dandelions are a chaos of seeds piled on top of each other.


screenshot

(Image: Arnoldius)


Our dandelion animation will never reproduce the complexity of the real thing, and it will work better if we don’t try: make it too close to real and it will feel funny. Instead, we’ll create a stylized dandelion that makes the right impression without all of the details.


screenshot

Paper.js


Drawing simple shapes with the canvas tag, without any special drawing libraries, is easy. Create your canvas:


1<canvas id="canvas" width="300" height="300"></canvas>

Then add a little JavaScript.

01// Get our canvas
02var canvas = $('#canvas')[0].getContext("2d");
03
04// Draw a circle
05canvas.beginPath();
06canvas.arc(100, 100, 15, 0, Math.PI*2, true);
07
08// Close the path
09canvas.closePath();
10
11// Fill it in
12canvas.fill();

screenshot

Cheat sheets for canvas show you the basics, but when you get into more serious drawing, you’ll want a higher-level library, such as Paper.js.


Paper.js is a JavaScript library for drawings and animations. It’s based largely on Scriptographer, a scripting language for Adobe Illustrator. You can write JavaScript with Paper.js, but most of the time you’ll be working with a JavaScript variant called PaperScript.


Paper.js calls itself “The Swiss Army Knife of Vector Graphics Scripting,” and the “vector” part is important.


There are two basic types of graphics, vectorized and rasterized. Rasterized graphics are like the pictures you take with your camera: big rectangles with maps denoting the color of each pixel. Enlarge them and you’ll get blurry dots.


Vector graphics are like connect-the-dots pictures: they’re sets of lines and shapes that give instructions on how to draw the image at any size. Using vector graphics, you can make an image of the letter Z really big and it will still look sharp. If you turned it into a rasterized graphic by taking a picture of it and then blowing it up, the letter would get all blurry.




Vector graphics libraries are perfect for animation because they make resizing, rotating and moving objects easy. They’re also much faster, because the program has instructions for drawing each object instead of needing to figure it out.


The Paper.js examples page shows some of the amazing things you can do with vectorized graphics.


The dandelion is a complete functioning example, and you can see it all running on the example page. You can also change the code by clicking the “Edit” button, see your changes live, and copy and paste the code to your own website. Over the course of the article, we’ll explain each part of the code in turn, but please note that in order to run the code yourself, you will need to head over to the example page and copy and paste it to your own environment.

Drawing Our Dandelion


The first step is to import our JavaScript and PaperScript files.


1<script src="paper.js" type="text/javascript" charset="utf-8"></script>
2<script type="text/paperscript" canvas="canvas" src="dandelion.pjs" id="script"></script>


The PaperScript code for running the animation is declared as text/paperscript. Now we’re ready to start drawing.


The first part of our dandelion is the stem. The stem is the green arc, with a circle on the top for the bulb. We’ll make both shapes with a path, a list of shapes, points and lines that the browser is instructed to display.


Paths are the basic building blocks of animation. They render lines, curves and polygons. You can also fill them in to make complex shapes. Our path looks like this:


01var path = new Path();
02path.strokeColor = '#567e37';
03path.strokeWidth = 5;
04
05var firstPoint = new Point(0, 550);
06path.add(firstPoint);
07
08var throughPoint = new Point(75, 400);
09var toPoint = new Point(100, 250);
10path.arcTo(throughPoint, toPoint);


Our path is an arc, so it needs three points: the start, the end and a midpoint to arc through. Three points are enough to define any arc we need. The arcTo function draws the line between them. The path item also supports styling information, such as stroke color and stroke width; #567e37 and 5 will make our arcing line green and thick. Paper.js supports the same color definitions as CSS.


We can add a few more items to make it all easier to see:


1path.fullySelected = true;
2
3var circle = new Path.Circle(throughPoint, 5);
4circle.fillColor = '#CC0000';


Fully selecting the path will display some lines to show us the arc; the red circle shows us where the through point is.

screenshot

The stem ends with a circle to show the bulb of the flower and give us a place to attach all of the seeds. Circles are much easier in Paper.js than in direct canvas.


1var bulb = new Path.Circle(toPoint, 10);
2bulb.fillColor = '#567e37';


One line of code draws our circle, one more makes it green, and now we’re ready to add our seeds.

Drawing The Seeds


Each seed has a bulb, a little stem and a wispy part on top.

screenshot

(Image: Hmbascom)


Our seed starts with a small oval for the bulb and an arc for the stem. The oval is a rectangle with rounded corners:


1var size = new Size(4, 10);
2var rectangle = new Rectangle(p, size);
3var bottom = new Path.Oval(rectangle);
4bottom.fillColor = '#d0aa7b';

The seed stem is another arc, but this one is much thinner than the flower stem:

1var stem = new Path();
2stem.strokeColor = '#567e37';
3stem.strokeWidth = 1;
4stem.add(new Point(p.x + 2, p.y));
5
6var throughPoint = new Point(p.x + 4, p.y - height / 2);
7var toPoint = new Point(p.x + 3, p.y - height);
8stem.arcTo(throughPoint, toPoint);


The wisps are more arcs with a circle at the end of each line. Each seed has a random number of wisps that start at the top of the stem arc and curve out in different directions. Randomness makes them look a little bit messy and thus more natural. Each seed gets a random number of wisps, between 4 and 10.


01for (var i = 0; i < random(4, 10); i++) {
02    path = new Path();
03    path.strokeColor = '#fff3c9';
04    path.strokeWidth = 1;
05
06    var p1 = new Point(p.x, p.y);
07    path.add(new Point(p1.x + 2, p1.y + 2));
08
09    // Each flutter extends a random amount up in the air
10    var y = random(1, 5);
11
12    // We draw every other stem on the right or the left so they're
13    // spaced out in the seed.
14    if (i % 2 == 0) {
15        throughPoint = new Point(p1.x + random(1, 3), p1.y - y);
16        toPoint = new Point(p1.x + random(5, 35), p1.y - 20 - y);
17    } else {
18        throughPoint = new Point(p1.x - random(1, 3), p1.y - y);
19        toPoint = new Point(p1.x - random(5, 35), p1.y - 20 - y);
20    }
21
22    path.arcTo(throughPoint, toPoint);
23
24    // Now we put the circle at the tip of the flutter.
25    circle = new Path.Circle(toPoint, 2);
26    circle.fillColor = '#fff3c9';
27}


Now that we’ve drawn the seed, we need to manage it; later, we’ll want to move and rotate it. The seed is made up of a lot of parts, and we don’t want to have to manage each one separately. Paper.js has a nice group object. Groups associate a set of objects together so that we can manipulate them all at once.


1var group = new Group();
2group.addChild(bottom);
3group.addChild(stem);
4
5this.group = group;


The last step is to package our seed into a reusable object called Seed. We add all of the code we’ve been writing to a new function with the name Seed and add a function to create the initial variables. This example calls that function create, but you can name it anything you want.


1function Seed() {
2
3    this.create = function (/*Point*/ p, /*boolean*/ shortStem) {
4    


The create function draws the seed at the specified Point, and the shortStem boolean tells us whether this is a short stem. We’ll look at short-stemmed seeds a little later.

These types of functions don’t work as constructors in JavaScript, but are supported in PaperScript.


1var seed = new Seed()
2seed.create(new Point(100, 100), false);


Our seeds will look like this when we draw them:

screenshot

The Seed object draws our random dandelion seeds. Now we can add them to our flower.

Adding A Little Chaos


The seeds will look better when we space them out around the circle of our dandelion bulb to feel like a halo of seeds. The bulb is a circle, and the circle is a path, so we can get each point on the path.


01var bulb = new Path.Circle(toPoint, 10); bulb.fillColor = '#567e37';
02
03var angle = 360 / bulb.length;
04var seeds = [];
05
06for (var i = 0; i < bulb.length; i++) {
07    var seed = new Seed()
08    seed.create(bulb.getPointAt(i));
09
10    // Rotate each seed so that it points out from the bulb
11    seed.rotate(i * angle);
12    seeds.push(seed);
13}


This will make a circle of seeds around the bulb but leave a space in the middle. We’ll add a few more seeds to fill in the center. We’re giving the center seeds short stems so that they show the white of the wisps more than the beige of the stems.


1for (var i = 0; i < 18; i++) {
2    var seed = new Seed()
3    var point = new Point(toPoint.x + random(-3, 3),
4                          toPoint.y + random(-3, 3));
5    seed.create(new Point(toPoint), true);
6    seed.rotate(random(0, 360));
7    seeds.push(seed);
8}


The seeds in the middle will bunch randomly and make our dandelion look nicely messy. Now we can make them blow off.

Animating The Seeds


Wind pushes seeds in complex patterns, and two seeds will never blow off the same way. We want to make them look real, so we’ll need a little more randomness.


Reproducing real wind is much too complicated, so we’ll make the seeds float off in a random-looking pattern. Each seed is assigned a random point on the right side of the screen as a final destination:

1this.dest = new  Point(1800, random(-300, 1100));

The rotateMove function pushes each seed toward its destination point and rotates it. We can work with our Seed object as a group to rotate and move it with one function.


01this.rotateMove = function(/*int*/ angle) {
02    if (this.group.position.x < 850 && this.group.position.y < 650) {
03        var vector = this.dest - this.group.position;
04        this.group.position += vector / 150;
05
06        this.angle += angle;
07        this.group.rotate(angle);
08    } else {
09        this.isOffScreen = true
10    }
11}


This function will move the seed until it’s off the screen. Calling rotateMove for each frame of our animation will make the seed float across the screen.


Paper.js gives us an easy way to make animations with the onFrame function; when we implement onFrame, Paper.js will call it for every frame of our animation. With each frame, we iterate over each seed and move it across the screen.


1function onFrame(event) {
2    for (var i = 0; i < seedCount; i++) {
3        if (!seeds[i].isOffscreen()) {
4            seeds[i].rotateMove(random(2, 4));
5        }
6    }
7}


The seeds slide and rotate a little closer to the destination point with each frame of the animation. Starting all of the seeds at the same point and ending them far apart makes them space out nicely as they move.

screenshot

We don’t want all of the seeds to fall off at once, so we’ll use a timer to make them drift away.

1function start() {
2    var id = setInterval(function() {
3        seedCount++;
4        if (seedCount === seeds.length) {
5            clearInterval(id);
6        }
7    }, 1000);
8}

The timer waits for one second before releasing the next seed, giving our dandelion a nice floaty feel.


Some green grass and blue sky as a background image for our canvas puts it all into context. Now we have a dandelion with seeds floating on the breeze.

screenshot

See the dandelion running here. You can edit and run the source code as part of the animation or download it from the dandelion GitHub page.

Paper.js In The Real World


Paper.js has some impressive examples and a nice coding model, but you should know a few gotchas before using it on your website.

It Doesn’t Work In Old Browsers


All Paper.js drawings use the canvas tag and require HTML5. This means that you need Internet Explorer 9+, Firefox 4+, Safari 5+ or Chrome. If your website must support older browsers, then you won’t be able to use canvas.


There’s no way around this requirement; if you need older browsers, you’re out of luck. As the Paper.js website says, “Let’s go forward!.”

Performance Can Be Slow


Paper.js can make a browser grind to a halt even if the browser supports HTML5. Pixar renders Buzz and Woody on giant server farms — all you get is your user’s cheap MacBook.

Not only are laptops slower than server clusters, but browsers make things worse by rendering the canvas tag with the CPU instead of the GPU. Games like Halo and Rage take advantage of the graphics processor on your video card to render rocket launchers and mutants. The CPU is less efficient with graphics, so the same computer that handles complex video games smoothly can make floating dandelion seeds look slow and jerky.


Make sure to test all of your animations with slower hardware, and watch the CPU usage. Use groups to minimize the calculations, and be very careful about what you do in each invocation of the onFrame function.

Mobile Devices Are Slower


Mobile performance is even worse. Most mobile devices support canvas, but they are mostly too slow to render canvas animations well. Even more powerful devices, like the iPad 2, can’t handle the dandelion seeds smoothly.

It Doesn’t Support Object-Level Events


Other drawing libraries, such as SVG (see below), support object-level mouse and keyboard events. Those events make it easy to respond when a path or a polygon is clicked, hovered over or touched.


The canvas tag doesn’t support object-level events. Paper.js has some basic functionality for hit testing, but it’s very low-level. You can listen for mouse and keyboard events on the whole canvas, but you’ll need to handle mapping those events to individual controls.

What About SVG?


The SVG (Scalable Vector Graphics) specification was defined over 10 years ago, but came to the forefront with support libraries such as Raphaël.js, which make it easy to generate SVG images with JavaScript. SVG is powerful, works well for smaller images, and is supported all the way back to Internet Explorer 7 with conversion to VML (Vector Markup Language). SVG is the best choice if you need to support older browsers.


The real issues with SVG are speed, future support and mobile devices. Every browser maker is actively working on making canvas faster. Safari 5 already offers hardware acceleration with the GPU for canvas, and the rest are working on it. SVG is also unsupported on Android devices.


There’s a growing community around canvas, the new technology that vendors are focusing on. They’re adding new features, fixing bugs and making it better every day.

Other Canvas Drawing Libraries


Paper.js isn’t the only option for canvas. Processing.js, from the creator of jQuery, ports the Processing programming language to JavaScript. It supports animations and has many examples.


The three.js engine supports canvas and the WebGL library, and it focuses more on 3-D drawings. Google Dart will also support canvas with built-in rendering objects.

Paper.js is a mature library with a very supportive community on the Paper.js Google Group and many impressive and well-documented examples. Check out some of the amazing things people are doing with it.

More Paper.js Examples


Our dandelion is just the beginning. Below are a few other impressive animations written in Paper.js.


Where’s your Paper.js amazingness?