HISTORY OF GENERATIVE ART - Processing
In our History of Generative Art series, we would like to spotlight Processing. Developed in 2001 by Casey Reas and Ben Fry, it was founded on a revolutionary idea: making programming accessible to artists and designers to create visuals, animations, and interactive works with code. This tool has influenced a generation of generative artists, shaping the way code is used as a medium for artistic expression.
Casey Reas, Process 14 (Software 2), 2012
The early goal of Processing was to make coding accessible to artists, architects, and designers, while also providing a platform for those already proficient in programming to create images. Casey Reas and Ben Fry envisioned Processing as a bridge between graphic design and computer science, allowing people to sketch ideas using code in the same way an artist sketches with a pencil.
The duo drew significant inspiration from earlier work at the MIT Medialab, especially from the Visual Language Workshop (VLW) and Design By Numbers (DBN), both led by John Maeda. While DBN provided a minimalist coding environment, its fixed canvas size and grayscale output were limiting.
Jared S Tarbell, Happy Place, 2004
Casey Rheas, Process Compendium, 2004 - 2010
Processing built on DBN’s strengths while eliminating its limitations, allowing users to work with color, larger canvases, and even 3D graphics. It simplified many of the complexities that often make traditional coding daunting for beginners, offering a minimalistic interface that encouraged users to start coding without being overwhelmed by technical details. This simplicity contributed significantly to its popularity.
Besides its simplicity, another important element was that it was completely open-source and free to use. The developers encouraged sharing of the software and the works created with it through the internet. While it initially attracted a relatively small group of users, its community grew rapidly as various forums and platforms emerged, providing spaces for users to discuss their work, seek help, and share creations.
Manoloide, aaaaa, 2018
Many prominent generative artists began their art careers using Processing. Its developer, Casey Reas, became a leading artist, creating intricate abstract works through code. His project “Process Compendium” (2004-2010) explores generative art by defining simple elements and behaviors that interact to produce dynamic, evolving visuals. A descriptive text guides the software, leaving space for interpretation.
One of the most important artists using processing after its launch is Manoloide. The Argentinian visual artist and talented coder, Manoloide has been using Processing since the early 2010s. Exploring the intersection of organic and artificial elements in his art, he created his most iconic works, rich in variety and vibrant colors. One of the early works like Mantel Blue or ‘aaaaa’, 2018, was exhibited at ‘Automat und Mensch’ in Zurich in 2019. His ‘Last Flowers’ series (2021), is an excellent example of how a Processing masterpiece emerges.
Manoloide, Last Flowers Red, 2021
Jared S. Tarbell began working with Processing in the early 2000s. Using the software, he developed numerous abstract, geometric artworks that blend mathematical elegance with artistic precision, making each piece feel like a spiritual experience generated by a computer. Last year, he presented his “Substrate Subcenter” (2024), building on his famous “Substrate series” from 2003, which he created using an early version of Processing.
The list of artists who have worked with Processing is extensive. Numerous books delve into this topic, such as “Processing: A Programming Handbook for Visual Designers and Artists” by Casey Reas and Ben Fry, published by MIT Press or the “20th Anniversary Community Catalog”, released in 2022, which highlights the community-building aspect of the software, to name a few.