![]() ![]() #NODEBOX LINGUISTICS FOR PYTHON3 MAC OS#NodeBox is Mac OS X-only Processing is cross-platform Mac/Windows/Linux (though Linux isn’t quite as well supported), and wherever possible (with the exception of QuickTime), Processing focuses on cross-platform libraries.(There is a library with 3D point support for NodeBox, but that’s nothing like Processing’s native support for Java3D and OpenGL.) ![]() NodeBox focuses entirely on 2D Processing works with 2D and 3D.NodeBox uses Python Processing uses Java.Both NodeBox and Processing are design, illustration, and animation tools, free and open source, geared for designers who may never have coded before, thanks to simplified syntax and streamlining for design purposes.Here’s a brief, oversimplified but hopefully vaguely accurate comparison of the two (I’ve only used Processing, not NodeBox): The syntax and design concepts are actually not unlike Processing, and I could imagine Processing coders being inspired by the results to think of some analog in that tool, with the added option of 3D. #NODEBOX LINGUISTICS FOR PYTHON3 MAC OS X#The project was coded in Python using NodeBox, a Mac OS X 2D design tool. Previous font coverage here on CDM:įree, Open Source, Remixable Fonts, and Embedding Fonts in Flash 9 / AS3 It’s surprising to me, in fact, that text hasn’t inspired more visualist exploration and live VJ sets. ![]() I can’t look at these without getting ideas for animated text. Generating random particles and connecting them with beautiful curves, the new type evolves organically, unmistakably digital but rooted in the past.Ī Digital Remake Project Page, with open-source code, poster guides to the project in PDFs in English and Italian, and Italian research The translation from traditional media to digital manages to be loving without being slavish: this is truly a digital analog to the original process. It’s only fitting, then, that some lovers of type and digital media would fight back.Īndren writes in to share his Master Degree Thesis in visual communication design at Politecnico di Milano, an open source investigation of type and process called “A Digital Remake.” The results are simply stunning: drawing upon the 1906 work of Edward Johnston on type, he reconstructs in digital form the process of constructing illuminated type. Italy, once the land of highly skilled typographers, calligraphers, and music engravers, has given way to static, boxed-up, boring fonts like the rest of the world. Digital process has often been the enemy of craft. ![]()
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