Lauren Dubick - Problem Set #2
 
Part 1
p1.dbn 
// paper shade
//
// shade is variable for paper shade
set shade 64

paper shade

Choose a single shade of a paper and render that shade.
 
Part 2
p2.dbn 
// brightness demo
// quadratic fade - 
// paper as a function of time
paper 0
repeat factor 0 75
{
   set shade ((factor * factor) / 37)
   paper shade
}

Create a sequence of shaded papers using the Repeat command as a short animation of brightness. For example
Repeat a 0 100
{
Paper a
}
 
Part 3
p3.dbn 
// flicker unmerge from gray 50
// - like heartbeat
paper 50
paper 50
paper 50
paper 50
repeat shade 50 0
{
  paper shade
  paper shade
  paper (100-shade)
  paper shade
}
paper 0

Create an animation of a sequence of shaded papers that evokes a sense of rhythm.
 
Part 4
p4.dbn 
// sleepy sequence - breathing
repeat b 0 9
{
   set a (b * 10)
   repeat shade a (a + 20)
   {
      paper shade
   }
   repeat shade (a + 20) (a + 10)
   {
      paper shade
   }
}

Create an animation of a sequence of shaded papers that evokes a tranquil, sleepy image.
 
Part 5
p5.dbn 
// increasing jump towards ultimate
// height of brightness
paper 100
paper 100
set shade 100
repeat jump 1 15
{
   set shade (shade - jump)
   // paper shade x3 to slow down
   paper shade
   paper shade
   paper shade
}

Create an animation of a sequence of shaded papers that evokes a gradually increasing/heightening feeling.
 
Part 6
p6.dbn 
// increasing jump towards ultimate
// height of brightness with jumpy line
paper 100
paper 100
set shade 100
pen 0
repeat jump 1 15
{
   set shade (shade - jump)
   pen jump
   line (10 + jump) 50 (10 + jump) shade
   // paper shade x3 to slow down
   paper shade
   paper shade
   paper shade
}

Add a single line to the sequence, and let it fly in time. For instance
Repeat a 0 100
{
Paper 0
Line a 0 a 100
}
 
Part 7
p7.dbn 
// increasing jump towards ultimate
// height of brightness with contrasting
// jumpy lines
paper 100
paper 100
set shade 100
pen 0
repeat jump 1 15
{
   set shade (shade - jump)
   pen jump
   line (10 + jump) 50 (10 + jump) shade
   line 50 25 shade (10 + jump)
   // paper shade x3 to slow down
   paper shade
   paper shade
   paper shade
}

Add another line and let two lines fly in contrasting styles.
 
Part 8
p8.dbn 
// increasing jump towards ultimate
// height of brightness with cooperative
// jumpy lines
paper 100
paper 100
set shade 100
pen 0
repeat jump 1 15
{
   set shade (shade - jump)
   pen jump
   line (10 + jump) 50 (10 + jump) shade
   line 50 (10 + jump) shade (10 + jump)
   // paper shade x3 to slow down
   paper shade
   paper shade
   paper shade
}

Let two lines fly in cooperative styles.
 
Part 9
p9.dbn 
// catherine's line - lauren's comments
// paper 89
// pen 12
// line 21 78 34 16
//
//
// what is the slope of the line?
// (16-78)/(34-21) = -62/13
// perhaps we could add some more meaning
// to these proportions, for example why is
// the paper chosen at shade 89 and then
// pen at 12?  why is the slope -62/13?
//
// also, where is the line located within
// the paper?  we can translate it up and
// left to anchor it in the top left 
// corner, yet leave it slightly detached
// so by modifying the tones to match the
// proportions and translating the line, we
// have a line with much more meaning
// behind it
paper 62
pen 13
line 10 90 23 28

Using Part 1 of Problem Set 1, you are asked to comment and improve on a colleague's work. The person you will choose is determined by your order in the pulldown menu of the main page. For example, Ben should comment on Bruce, Bruce on Nick, and all the way down to Hoeteck commenting on Ben (wrapped around). We don't have a form mechanism setup, so for now just put it inside your DBN buffer as a comment, and include a modified version of your colleague's program that reflects your suggestions.
 
Part 10
p10.dbn 
// catherine's code, lauren's comments
//
// the main changes involve abstracting the
// color set for the pen to be referred to
// as a variable 'color' locally within
// each loop.  this allows one to change
// tones easily as well as easily see
// relative tones.
//
// the other changes focus around giving
// more definition to the edges of the
// shape.  this is done by setting the
// points on the edges to be a few tones
// lighter or darker (depending on whether
// we want a highlight or shadow) than the
// fill tones.
//
// also note that the order in which the
// shape is rendered has been altered in
// order to make the inside of the 
// cylinder seem truly further away - now
// the cylinder part is rendered last, so
// it overlaps the inside part slightly.
paper 100
set x 1
// right half of inside
repeat a 0 25
{
   set color (50-((a*5)/3+25))
   pen color
   line (a+50) (60+(((a+x)*(a+x))/100)) (a+50) (62+(10-(((a+x)*(a+x))/100)))
   set [(a+50) (60+(((a+x)*(a+x))/100))] (color + 10)
   set [(a+50) (62+(10-(((a+x)*(a+x))/100)))] (color - 10)
}
// left half of inside
repeat a 0 25
{
   set color (50-(25-((a*5)/3)))
   pen color
   line (50-a) (60+(((x+a)*(x+a))/100)) (50-a) (62+(10-(((a+x)*(x+a))/100)))
   set [(50-a) (60+(((x+a)*(x+a))/100))] (color + 10)
   set [(50-a) (62+(10-(((a+x)*(x+a))/100)))] (color - 10)
}
// right half of cylinder
repeat a 0 25
{
   set color ((a*5)/3+25)
   pen color
   line (a+50) (20+(((a+x)*(a+x))/100)) (a+50) (60+(((a+x)*(a+x))/100))
   set [(a+50) (60+(((a+x)*(a+x))/100))] (color + 10)
   set [(a+50) (20+(((a+x)*(a+x))/100))] (color + 20)
}
// left half of cylinder
repeat a 0 25
{
   set color (25-((a*5)/3))
   pen color
   line (50-a) (20+(((x+a)*(x+a))/100)) (50-a) (60+(((a+x)*(x+a))/100))
   set [(50-a) (20+(((x+a)*(x+a))/100))] (color + 20)
   set [(50-a) (60+(((a+x)*(x+a))/100))] (color + 20)
}

Do the same as above for Part 10 of Problem Set 1.