10 books like Getting Started with p5.js

I love this book so much. It is a bit less “how-to” and a bit more “why in the world are we interested in programming and what does that mean for us as individuals and also for society at large?” That is to say, you can learn to code from this book—in JavaScript with p5.js, specifically—but Aesthetic Programming is not merely about learning to code; it’s also a provocative, critical exploration of code as a medium for thought, communication, and creative expression. When you code, you’re participating in the creation of “computational culture.” With this book by your side, you will be a more self-aware cultural citizen. (Also, this book is visually so, so beautiful. Just leafing through the pages inspires me.)

This book changed my life. Known simply as “the blue book” in creative coding circles, I discovered this in a bookstore in Cambridge, Mass., just blocks from where Casey and Ben had created Processing at MIT (and then wrote this book). It opened me up to Processing—their programming language for artists and designers—but also to code as a creative medium. Until then, I saw code as a dry, tedious way to fight with computers. Now I know that code can be just as expressive, engaging, and emotional as prose and poetry.

While the syntax in this book is for Processing (which you can download and run on your computer for free), the concepts are equally applicable to p5.js (which runs in a web browser, also for free).

If you want your interactive graphics to feel like they are real objects—real things moving around on the screen—then you have to learn how to mimic the natural world. For an object to feel like it has weight, you have to mimic gravity. For a flock of birds to feel real, you have to mimic how real birds swarm in the sky. Yes, this does involve little math. But fortunately, Dan is a superstar teacher, and he will gently walk you through (a) the math and (b) how to translate that math into code.

Speaking of code, this book uses Processing.js, which is an older adaptation of original Processing to JavaScript. That said, the techniques are all equally applicable to modern-day Processing and p5.js.

Okay, hear me out. Yes, this book was published in 2007. Yes, it’s ostensibly about ActionScript, the coding language in Flash, which no one uses anymore. But you won’t use this book to learn ActionScript or Flash: You’ll use it to learn how to make things move with code, in any language. You’ll skip over the ActionScript-specific parts in favor of the lucid explanations and helpful illustrations. Your visual brain will appreciate seeing how sines, cosines, and tangents are relevant—and necessary!—to make digital things move. (Your heart will wish your brain had paid better attention in trigonometry class years earlier, but hey, no regrets!) The chapters “Trigonometry for Animation” and “Velocity and Acceleration” alone are worth the purchase price.

During my first few weeks of JavaScript coding, I encountered what seemed to be an endless number of head-scratching moments: "I'm slowly reading the few lines of code I just wrote, it seems fine, so why isn't it doing what it looks like it should be doing?" Even more insidious at times than C++, JavaScript contains a number of fairly clever constructs, including things like hoisting, duck typing, and a loosey-goosey argument passing mechanism. This concise tome of fewer than 175 pages helped get me past those first few months, and as an author-stated goal, it helped me "learn to think in JavaScript."

For an overview book that focuses on intuition—a book that is intentionally designed to evade formality—to make my list, it has to be really, really good. This one is. I appreciate the inclusion of real code in multiple programming languages and the step-by-step traces of algorithms. I appreciate the care taken with the Big O material and the way that abstract data types are introduced. This is one of very few books whose recursion material I like—the ‘napkin’ approach to recursion is wonderfully done.  

The text covers classic statistical inference, early computer-age methods, and twenty-century topics. This puts a unique perspective on current analytic technologies labeled machine learning, artificial intelligence, and statical learning. The examples used provide a powerful description of the methods covered and the compare and contrast sections highlight the evolution of analytics. This book by Efron and Hastie is a natural follow-up source for readers interested in more details.

This book answers the excruciating question: Where are the antinomic antipodes of Los Angeles located? The British master of Pop Art, a long-time inhabitant of LA from 1964 to 2019, filled this sketchbook in his native England. There are no words in this book except for an apocryphal introduction and Hockney’s hand brushed “Yorkshire April 04”. If Henry Moore masters the ballpoint pen, David Hockney excels in watercolor. But the brush is not primarily used to fill in surfaces but to draw. The colorful water flows in fast gestures easy and attentive. “I could do this,” one thinks. Only if I had my own Yorkshire and my faraway LA. The book is also a prequel to Hockney’s most recent work, fully bucolic, produced in Normandy, France where, according to him, people know how to live. Hockney pretends to do everything unassumingly. Of course we know that this is not… show more.

Ching has a great gift for illustrating with his visuals, and his amazing handwritten text, all manner of information about drawing and designing space. This is a comprehensive and instructional book introducing design drawing from basic principles to the communication of designed space as a structural diagram or atmospheric perspective. A wonderful exploration of sketching and drawing methods to illustrate theory, atmosphere, and the communication of three-dimensional space.  For me, it transcended the textbook approach and provided a clear exploration of the communication of design method and its potential outcomes.

Before reading this book, I had never heard of Mary Sully. I’m thrilled that I now know about her stunning “personality prints,” abstract designs arranged in horizontal triptychs. Sully, who was born on the Standing Rock reservation in 1896, was largely a self-taught artist who never achieved wide recognition. Philip Deloria, a professor of history and a relative of Sully’s, delves into the complexities of what it meant to be a Dakota Sioux woman artist working with an innovative style of abstract art that didn’t fit into neat categories. This mirrors, Deloria says, the “scramble for survival” that an “Indian” woman had to navigate in a “difficult world.” That difficult world is still with us today, making this story a throughline to the present and a must-read.