##### Citation preview

MATHEMATICS AND PHYSICS FOR PROGRAMMERS

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MATHEMATICS AND PHYSICS FOR PROGRAMMERS

DANNY KODICEK

CHARLES RIVER MEDIA, INC. Hingham, Massachusetts

For Tony Revell and David Hepburne-Scott Two great teachers sadly missed

Contents Acknowledgments Introduction

xxv xxvii

Part I General Techniques 1

Numbers

3

Overview

3

Writing Numbers

4

Integers, Rationals, and Irrationals

4

The Number As a String of Digits

5

7

How Computers Represent Numbers

8

Representing Integers

8

Representing Rational and Irrational Numbers

9

abs(), floor(), ceil(),

2

1

and round()

12

Rounding Errors and Performance

14

Big Integers

16

Exercises

16

Summary

17

You Should Now Know

17

Arithmetic

19

Overview

19

Fractions and Remainders

20

Calculating Fractions

20

Factors and Factorization

22

Modulo Arithmetic

26

Cycling Through Data

27 vii

viii

Contents

Proportions, Ratios, and Percentages Mapping Between Ranges of Values

29

Making a Slider

32

Calculating Percentages

34

Exponentials

36

Calculating with Powers

37

The Number e and the exp() Function

38

Exponential Functions in Real Life and Physics

39

Logarithms

3

29

39

Calculating with Logarithms

39

Using Logarithms to Simplify Calculations

41

Using Logarithms to Deal with Large Numbers

42

Exercises

43

Summary

44

You Should Now Know

44

Algebra

45

Overview

45

Basic Algebra

46

Variables, Parameters, and Constants

46

Expressions and Terms

47

Functions

48

Equations, Formulas, and Inequalities

49

Working with Equations

50

Balancing Equations

50

Simplification

52

55

Solving Cubic Equations

58

Solving Simultaneous Equations by Substitution

60

Solving Simultaneous Equations by Elimination

62

Functions and Graphs

65

What Is a Graph?

65

Contents

4

ix

Plotting and Examining Functions on a Graph

67

Parametric Curves and Functions

73

Exercises

74

Summary

74

You Should Now Know

75

Trigonometry and Pythagoras

77

Overview

77

Angles

78

Angles and Degrees

78

Area and the Number 

80

82

Triangles

82

The Types of Triangle

82

Pythagoras’ Theorem

84

The Trigonometric Functions

86

The Inverse Trigonometric Functions

88

Calculations with Triangles

90

The Sine and Cosine Rules

90

Similar Triangles

92

The Area of a Triangle

94

Rotations and Reflections

94

Transformations

94

Rotating an Object by an Angle

96

Quick Rotations by Special Angles

98

Reflections

98

sin(), cos(),

and Circular Motion

100

Exercises

101

Summary

101

You Should Now Know

101

x

Contents

5

Vectors Overview

103

Getting from Here to There

104

The Vector As an Instruction

104

Vector Arithmetic

106

The Normal Vector

109

Vectors and Scalars in Real Life

109

Vector Motion

110

Describing Shapes with Vectors

110

Moving from A to B

113

More Complicated Vector Paths

115

Vector Calculations

117

Separating Vectors into Components

117

The Scalar (Dot) Product

119

Vector Equations

120

Matrices

6

103

124

Multidimensional Arrays

125

Matrix Arithmetic

127

The Matrix As a Transformation

129

Exercises

131

Summary

131

You Should Now Know

132

Calculus

133

Overview

133

Differentiation and Integration

134

134

Differentiating

136

Differentiating Logarithms and Exponentials

139

Differentiating the Trigonometric Functions

140

Partial Differentiation and Parametric Equations

141

Integration

142

Contents

Differential Equations

xi 144

Characteristics of Ordinary Differential Equations

144

Solving Linear ODEs

146

Approximation Methods

146

Bracketing Methods

147

149

Exercises

152

Summary

152

You Should Now Know

152

Part II Ballistics and Collisions

153

7

Acceleration, Mass, and Energy Overview

155

Ballistics

156

Acceleration and Deceleration

156

The Equations of Motion Under Constant Acceleration

156

Acceleration Due to Gravity

158

The Motion of a Cannonball

160

Mass and Momentum

162

Mass and Inertia

162

Calculating Momentum

163

Energy

8

155

163

Kinds of Energy

163

Conservation of Energy

165

Using Conservation of Energy to Solve Ballistics Problems

166

Exercises

167

Summary

168

You Should Now Know

169

Detecting Collisions Between Simple Shapes Overview

171 171

xii

Contents

Ground Rules

172

When Circles Collide

173

Circles

173

A Moving Circle and a Wall

174

A Stationary Circle and a Moving Point

176

Two Moving Circles on a Straight Line

178

Two Moving Circles at an Angle

179

One Circle Inside Another

180

The Point of Contact

181

When Squares Collide Squares and Rectangles

182

A Stationary Rectangle and a Moving Point

184

Two Rectangles at the Same Angle

186

Two Rectangles at Different Angles

188

The Point of Contact

189

When Ovals Collide

190

Ellipses

190

A Stationary Ellipse and a Moving Point

193

Two Ellipses

195

The Point of Contact

195

When Things Collide

9

182

195

Collisions Between Circles and Rectangles

195

The Point of Contact

196

Exercises

196

Summary

197

You Should Now Know

197

Resolving Collisions

199

Overview

199

Resolving a Single Collision

200

A Ball Hitting a Wall

200

A Ball Hitting a Movable Ball

201

Contents

Two Moving Balls Colliding

204

Inelastic Collisions

205

Multiple Collisions

10

xiii

207

Collision Is a Recursive Function

207

Simultaneous Collisions

210

Exercises

211

Summary

212

You Should Now Know

212

Detecting Collisions Between Complex Shapes

213

Overview

213

The Problems of a Complex Shape

214

Bitmaps and Vector Shapes

214

Defining a Complex Shape

214

Bezier Curves and Splines

217

Convex and Concave

221

Determining If a Point Is Inside a Shape

222

Some Reasonable Problems

225

When Jelly Hits a Wall: Finding the Leading Edge of a Complex Shape 225

11

When a Marble Hits a Rock: Using a Collision Map

229

Finding Bounding Shapes

233

Built-In Solutions

237

Exercises

238

Summary

239

You Should Now Know

239

A Simple Pool Game

241

Overview

241

The Rules of Engagement

242

Defining the Table

242

Defining the Balls

244

Defining the Physical Parameters

247

xiv

Contents

Taking a Shot

248

Creating the Cue

248

The Main Game Loop

250

Basic Culling

253

Game Logic

255

Exercises

256

Summary

256

You Should Now Know

256

Part III More Complex Motion

257

12

Force and Newton’s Laws Overview

259

Force

260

The First Law

260

The Second Law

261

The Third Law

261

Impulse

262

Gravity

263

The Law of Gravitation

263

The Motion of a Planet Under Gravity

264

Centrifugal and Centripetal Force

266

Rockets and Satellites

13

259

267

Geo-Stationary Orbit

267

A Really Fast Cannonball

268

Exercises

269

Summary

269

You Should Now Know

269

Angular Motion Overview

271 271

Contents

The Physics of a Lever

272

Moments of Inertia

274 277

Ballet Dancers and Spinning Tops

277

Rotational Kinetic Energy

279

Spinning Collisions

279

Detecting Collisions Between a Rotating Line and a Circle

280

Detecting Collisions Between Two Rotating Lines

285

Resolving Angular Collisions

291

Incorporating Spin into the Pool Game

293

Exercises

294

Summary

295

You Should Now Know

295

Friction

297

Overview

297

How Friction Works

298

The Coefficient of Friction

298

Friction and Energy

300

Air Resistance and Terminal Velocity

301

Friction and Angular Motion

15

272

Torque Spin

14

xv

302

Wheels

302

Slipping Over

304

Exercises

306

Summary

306

You Should Now Know

307

Strings, Pulleys, and Conveyor Belts Overview

309 309

xvi

Contents

Pulling Things Around The Inextensible String

310

Strings on Tables

311

Strings and Circular Motion

312

Pulleys

313

Continuous Momentum

16

310

315

Conveyor Belts

315

Rocket Fuel

316

Exercises

317

Summary

318

You Should Now Know

318

Oscillations

319

Overview

319

Springs

320

The Force in a Stretched Spring

320

Using Springs to Measure Weight

321

Simple Harmonic Motion

322

The Equation of SHM

322

Other Examples of SHM

324

Calculating the Parameters

325

Damped Harmonic Motion

326

The Equation of DHM

326

Damping in Practice

328

Phenomena

331

Resonance: Pushing the Swing

331

332

Calculating Spring Motion

332

Waves

337

Wave Motion

337

Types of Wave

338

Contents

339

Wave Behavior

341

Exercises

344

Summary

344

You Should Now Know

345

Part IV 3D Mathematics 17

347

3D Geometry

349

Overview

349

3D Vectors

350

350

The Vector (Cross) Product

351

Using the Cross Product

352

Homogeneous Coordinates

355

Rendering

357

The Projection Plane

357

Perspective

361

Orthographic Projections

362

Casting a Ray

18

xvii

363

Using the 3D Engine to Find Objects Along a Path

363

Picking, Dragging, and Dropping

364

Exercises

367

Summary

367

You Should Now Know

368

Transforms

369

Overview

369

Describing Locations in Space

370

Position, Rotation, and Scale

370

The Transformation Matrix

372

xviii

Contents

Applying Transforms

19

375

Creating Motion with Transforms

375

Interpolation

378

Quaternions

378

Parents and Children

380

Exercises

382

Summary

382

You Should Now Know

383

Collision Detection in Three Dimensions

385

Overview

385

When Worlds Collide

386

Spheres

386

A Moving Sphere and a Wall

386

A Sphere and a Moving Point or Two Spheres

387

The Point of Contact

388

When Footballs Collide

388

Ellipsoids

388

An Ellipsoid and a Moving Point or Plane

389

Two Ellipsoids

389

When Boxes Collide

391

Boxes

391

A Box and a Moving Point

391

Two Boxes

392

A Box and a Sphere

394

When Cans Collide

395

Cylinders

395

A Cylinder and a Point or Sphere

396

A Cone and a Sphere or Particle

398

Two Cylinders

399

Contents

When Stuff Collides

20

400

Bounding Spheres, Ellipsoids, and Boxes

400

Collisions with an Arbitrary Mesh

400

Resolving Collisions in Three Dimensions

401

Exercises

401

Summary

401

You Should Now Know

402

Lighting and Textures

403

Overview

403

Light

403

Real Lights

404

Fake Lights

405

Materials

407

The Color Elements of a Surface

407

Image Maps and Textures

410

Fitting a Map to a Shape

413

Mip-Maps

416

21

xix

419

419

The Normal at a Vertex

420

Exercises

421

Summary

421

You Should Now Know

422

Modeling Techniques

423

Overview

423

Mathematical 3D Modeling

424

Surfaces of Rotation

424

Splines in 3D

425

NURBS

426

xx

Contents

Surfaces Generated with sin() and

429

Tessellation

430

Animated Surfaces

432

Cloth and Hair

432

Water

434

Bones Animation

435

Working with Bones

436

Inverse Kinematics

438

Exercises

441

Summary

441

You Should Now Know

442

Part V Game Algorithms 22

cos()

Speeding Things Up

443 445

Overview

445

Cheap and Expensive

446

Computational Complexity

446

Using Look-Up Tables

447

Integer Calculations

448

Pseudo-Physics

452

Simplifying Collisions

452

Simplifying Motion

453

Culling

454

Segregating Space

454

455

Binary-Space Partitioning

458

Bounding Volume Hierarchies

459

Exercises

461

Summary

461

You Should Now Know

462

Contents

23

24

Tile-Based Games

xxi 463

Overview

463

Generating a Game from Bits

464

Creating a Tile-Based World

464

Basic Movement and Camera Control

464

Basic Collisions

466

Complex Tiles

469

470

The Isometric View

470

Platform Games in 3D

471

Spline-Based Tiles

475

Exercises

475

Summary

475

You Should Now Know

476

Mazes

477

Overview

477

Classifying Mazes

478

Graphs and Connectivity

478

Twists and Turns

480

Creating Mazes

483

Handling Maze Data

483

Generating a Maze Automatically

484

Multiply-Connected Mazes

489

More Complex Mazes

490

Navigating Within Mazes

492

Collision Detection and Camera Control

492

Line of Sight

495

497

Pathfinding and the A* Algorithm

499

xxii

25

Contents

Exercises

501

Summary

501

You Should Now Know

502

Game Theory and AI Overview

503

Introduction to Game Theory

504

Zero-Sum Games

504

Solving a Game

506

A Game Theory Approach to Tic-Tac-Toe

509

Tactical AI

515

How Chess Programs Work

515

Training a Program

516

A Tactical AI Approach to Tic-Tac-Toe

517

Top-Down AI

518

Goals and Subgoals

518

When to Change the Goal

519

A Top-Down AI Approach to Tic-Tac-Toe

520

Bottom-Up AI

26

503

522

Neural Networks

522

Training a Neural Network

525

Actors and Emergence

526

A Bottom-Up AI Approach to Tic-Tac-Toe

527

Exercises

528

Summary

528

You Should Now Know

528

Search Techniques

529

Overview

529

Problem-Solving

530

Representing a Problem

530

Contents

xxiii

531

Interaction

533

Case Study

534

Preparing the Ground

535

Creating the Search Function

537

Genetic Algorithms

538

Natural Selection

538

The Genetic Algorithm

541

Tweaking

543

Exercises

545

Summary

545

You Should Now Know

546

Appendix A Glossary of Mathematical Terms

547

Appendix B Language References and Pseudocode

567

575

Appendix D Further Reading and Resources

581

585

Index

593

Acknowledgments

stepped blithely into writing this book without the remotest idea how much work it was going to be. I am extremely grateful to my publisher Dave Pallai, and his team including Jennifer Blaney, Ania Wieckowski, Bryan Davidson, and Meg Dunkerley at Charles River Media, for their patience and understanding. Many thanks also to those who gave their valuable comments and helped to shape the book. I am indebted to Robert Tweed who provided the translations into C++ and Java found on the Web site. I am hugely grateful to all those many people who have written explanations and tutorials on various subjects and placed them for free on the Internet. The enthusiasm that experts show for their subject and their desire to help others is confirmation of my opinion that people are, on the whole, good and decent. I have had much encouragement and support from the community of Director users that inhabit various mailing lists, particularly the DirGames-L list. The expertise of people like Jim Andrews, Jonas Beckeman, Thomas Higgins, Martin Kloss, Lucas Meijer, Allen Partridge, Ben Pitt (RobotDuck), Simeon Rice (NoiseCrime), Barry Swan, and Alex (Zav) Zavatone, to name but a few not yet mentioned, has been invaluable. Several other people helped with specific questions, and I’d particularly like to thank Walter Pullen for inspiring me to go a little overboard about mazes. I have been fortunate enough to have many wonderful teachers over the years, both in mathematics and other areas, who gave me a joy in the subject that lasts to this day. Among many others, including Michael Davies, John Field, Jim Cogan, and Jonathan Katz, there are two, both of whom are sadly no longer with us, to whom this book is dedicated:

I

xxv

xxvi

Acknowledgments

Tony Revell was my first maths teacher (I use the British spelling here as I feel he would have preferred!) at Dulwich College Preparatory School, a man I feared above all others at age seven, but whom I grew to love. He recognized my joy in games and puzzles, and showed me how this was really a joy in the aesthetic side of mathematics: a yearning to discover the deeper patterns in the world. David Hepburne-Scott taught me physics at Westminster School, and could make a class laugh like no other teacher I’ve known. He cared deeply about the development of everyone in his class, quite aside from the subject, and loved nothing better than to make a bizarre comparison between thermodynamics and the making of a crème brulée. Finally, and of course, I would like to thank my family: my children Anna and Matthew for letting me snooze on the sofa in the morning, my wife Catherine for putting up with this huge endeavor for so long and her unfailing support, and my mother and father for their encouragement and advice. None of them have a mathematical bone in their body (well, time will tell with the children) so it shows amazing strength of character to deal with comments like “I can’t get this quartic to factorize correctly” without flinching.

Introduction

WHO IS THIS BOOK FOR? I was at school when the home computer had just appeared. The tool of choice in our school was the BBC Microcomputer, which boasted 64 K of memory, an optional disk drive, and its own language, BBC BASIC. As with most schools at the time, computing was taught by a math teacher, who was learning it at the same time that we were. In the past twenty years, things have changed a great deal. Most people use a computer in their daily lives, and they rarely need to do any programming of their own. Computer studies in school are more likely to look at spreadsheets and wordprocessing software than at programming, and teachers are less likely to be shoehorned in from the math department. In the meantime, programming itself has become less like a math class. Software like Director, Flash, WildTangent, and 3D GameStudio allow people to come a long way in creating animation, interactivity, and even games while scarcely writing a line of code. Between these two developments, increasingly people are coming into programming from backgrounds other than math. Artists and musicians; authors and screenwriters; businesspeople and teachers all find themselves drifting into the “new media” as a useful additional tool to their trade. As a programmer frequenting various mailing lists, it has become apparent how many people who are working in the industry are lacking in the mathematical background that they need to advance from basic interactivity into complex games, and particularly 3D. Often they suffer from quite serious math phobia, usually brought on by a lack of understanding of basic principles such as numbers or algebra. And even those who do understand the subject seem to reach a “boggle point” on some topics. So this book tries to address these problems directly by going right back to the fundamentals. xxvii

xxviii Introduction

WHAT IS IT ABOUT? The principal areas of math that you will encounter in programming, particularly for games, have to do with geometry and physics: geometry because you want to move things around on the screen, and physics because you want to do so realistically. So the majority of this book is taken up with these two areas. Every effort has been made to make sure that the topics are cumulative—everything you encounter in a later chapter should have been covered in an earlier one. Almost no knowledge on your part is assumed. The topics covered in the book fall into four broad categories: Essential topics: those that you are likely to encounter every day. They are the foundational concepts underlying the whole of mathematics. Most of these are covered in Part I of the book dealing with the basic principles of Numbers, Algebra, and Geometry, as well as the first chapters of Parts II, III, and IV, covering the basics of physics and of 3D mathematics. Essential topics are covered in depth, going right back to basic principles, deriving mathematical results and illustrating them with code samples. Advanced topics: more complex areas of mathematics and physics which, while you are less likely to meet them on a day-to-day basis, are still necessary for a complete understanding of the subject, or in order to understand and solve other problems that you may encounter. These include calculus (Chapter 6), complex physics concepts (Part III), and detailed 3D math, especially the workings of 3D renderers (Part IV). Advanced topics are covered in a more discursive fashion, with explanations of the principles and terminology, a few examples, and some derivations of important results. Applied topics: where we look at how these essential concepts can be applied to a more complex situation. These include most of Part II, as well as one or two chapters in Parts III and IV. In these chapters we tend to look at a few particular examples of the topic, solving them in depth, with detailed code samples and derivations of mathematical results, but we do not attempt to cover the whole topic. However, the examples given should get you well along the way to being able to tackle similar problems yourself. We try to cover a range of different methods for achieving the same goals. Extension topics: more advanced or obscure areas of the subject, particularly those that can be used to illustrate some broader principles. These mostly crop

Introduction

xxix

up in Part V, although some of Parts III and IV fit into this category too. The aim is to make you comfortable with the essential concepts and terminology of the topic, without worrying too much about the fine detail. A full explanation of any one of these topics would require another book, but after reading through the chapters, you should at least know what it is you are trying to achieve and where to look for the solution. These chapters have fewer code examples and equations, with more of an emphasis on verbal explanations and images. Naturally, these categories overlap to some extent, and every chapter has an element of all of them, but this explanation should make the overall philosophy of the book clearer. The principal aim of the whole book is to leave you understanding almost all of the mathematical principles and concepts involved in programming— not to know everything there is to know on any one subject, but to understand them well enough that you know what to look for whenever you encounter some new problem. So it is a book of mathematical techniques (Essential topics), physical principles (Advanced topics), examples of the math in action (Applied topics), and general concepts and terminology (Extension topics). Chapters differ in the balance of text, code, equations, and illustrations. Text: used by preference throughout. Most people are much more comfortable with a text-based explanation of a concept than wading through pages of equations or code. Illustrations: used whenever possible and useful to explain a point, particularly in order to clarify notation used in examples. Mostly these are simple diagrams, although there are also some screenshots illustrating the output of various algorithms. Code samples: used for various reasons. In Essential topics, examples are given of many equations and formulas translated directly into code. This is generally a simple and obvious operation, and we do less of it as the book progresses. In Applied topics, there are quite extensive and detailed code samples, although every attempt is made to keep them to less than a page. These illustrate the process of actually using a mathematical principle in a real-life context. In Advanced and Extension topics, code samples are used sparingly, only when they provide a clearer explanation of a concept than a long and confusing text description, or in order to summarize a long explanation. Equations (and other algebra): used when necessary but avoided when possible. As with code samples, they appear more for the Essential topics, after

xxx

Introduction

which they are used primarily when their meaning is immediately obvious. We generally avoid deriving results fully, leaving many of the details as an exercise, but Part I will give you a thorough understanding of the tools with which you can do it. Each chapter ends with one or more programming exercises for you to try yourself, most of which are answered in examples on the CD-ROM, or on the book’s Web site. Appendix E gives some additional hints toward solving these. In the other Appendices, you will find a thorough glossary of all the mathematical terminology, lists of useful online and printed resources, especially those that will allow you to build on the knowledge gained in this book, and some notes on programming techniques and the language Lingo used in the examples on the CD-ROM.

HOW SHOULD I USE IT? This book is presented in a cumulative sequence. Most chapters make reference to topics covered earlier. So it is definitely worth at least quickly skimming over the whole book. Even if you are fairly confident with basic mathematics and physics, there are likely to be some parts of the early sections that you are unsure about, and while some chapters are quite specific, it’s useful to know they are there. Try the exercises. Mathematics is a practical subject, and unless you have worked through a problem, you are unlikely to really understand it. And don’t stop with the task suggested—think about how you might generalize it or incorporate it into a project. Can you think of a game that uses the principles you have learned? Can you think how to improve an earlier game by incorporating these new elements? As a programmer, you are in a much better position to really get to grips with the principles behind what you are learning than you were at school. Finally, don’t get scared. People are unreasonably afraid of some of these subjects, while being perfectly able to tackle far more complex tasks like arguing about international politics down at the pub. If you don’t understand something, first read it again. If it still doesn’t make sense then think about why—is there some terminology you don’t understand? See if the glossary refreshes your memory, or find an earlier chapter where it is explained. Try a practical example, draw a little diagram, or see if you can rephrase it. If all else fails, skim over it and see if a later explanation throws some light on it. But don’t do that too often—that is how problems start.

Introduction

xxxi

ABOUT PSEUDOCODE The aim of this book is to introduce you to essential mathematics, not to teach good programming style. We don’t need to get bogged down in specifics of languages, implementation, or user interfaces, or except very briefly, in graphics or sound. So you will find few references to variables, objects, arrays, or sprites. Instead, we will look at particular functions and algorithms, which perform particular tasks. Because they are entirely mathematical, they should be easy to implement in whatever language you are using, and can be treated as “black boxes” that just do what you want. That does not mean to say that the same mathematics could not be implemented better or faster by integrating it with the rest of your code, or by making use of shortcuts in the language you use. In fact, in the vast majority of cases this is very possible. In order to avoid worrying about programming style, all code examples in this book are presented as pseudocode. This is a generic term that means different things to different people, but in this book it means a fairly detailed version of the code, written in a human-readable language. The pseudocode of this book is essentially a programming language written for a human interpreter rather than a computer one. Occasionally some “book work” parts of the code are left out in order to concentrate on the important points. These bookwork sections are indicated by a double bar: ||. There are also frequent comments, preceded by a double slash: //. Most of the code examples on the accompanying CD-ROM are written in Lingo, the programming language used in Macromedia Director. This was chosen because it is a fairly flexible, high-level, uncompiled language, which uses untyped variables and can be used in both an object-oriented and a procedural style. Until a few years ago, Lingo read almost like pseudocode itself—you might say “set the ink of sprite 1 to 8”—but these days it uses dot syntax like most other languages. However, to retain backward compatibility the old syntax has been retained (known as “verbose” syntax), and for the functions that tie in with the code examples in the book we have used verbose syntax to increase readability. This also means that the book’s pseudocode has a slight Lingo flavor. Whenever it is possible, we avoid specifics about variables, arrays, and so on, but they are sometimes necessary. The book uses the Lingo convention of saying the first element of an array (list) A is A, rather than A as most other languages have it, so as to tie in better with the CD-ROM. Generally, you shouldn’t have any trouble following the code, but the examples on the CD-ROM, together with Appendix B, should help. There are also a few examples in C++ and Java on the book’s Web site.

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Introduction

If you don’t own Director, you can get a free trial version from Macromedia (see Appendix D), or you can view the most important parts of the code in the text files. Even for non-Director users, Lingo is an easy language to follow, with a few oddities that are covered in Appendix B.

ERRORS, OMISSIONS, AND COMMENTS In a book of this length and scope, it’s inevitable that some errors will have missed the eagle eyes of the author, reviewers, and proofreaders. Most of these will hopefully be minor, but it’s possible that some will be more dramatic. In either case, I would be glad to hear about them so that they can be corrected for subsequent editions. Similarly, while of course much has been left out owing to space limitations, there are bound to be some techniques that will have been omitted simply because the author isn’t aware of them, and any glaring omissions would be gratefully received. In fact, any comments, positive or negative, are welcome. Please send them personally to the author at [email protected], including “[MPFP]” in the subject line. Any vital updates or errata, along with additional examples and supporting material, will be posted on the book’s Web site at www.charlesriver.com/titles/ mathphysics.html.

Part

I

General Techniques

n this first part of the book we will cover the most basic and essential elements of mathematics that you need every day. In all likelihood, much of the material here will already be familiar to you, but we can’t deal with the more complex concepts in the later sections without covering this ground first.

I

1

1

Numbers

In This Chapter Overview Writing Numbers How Computers Represent Numbers Exercises Summary You Should Now Know

OVERVIEW Most people would say that numbers are the foundation of mathematics. This is quite a modern view, because for most of the past two thousand years students began with geometry; but numbers are certainly the foundation of computers! A thorough understanding of numbers and how they work is vital to programming. So we will start our journey by looking at the way numbers are represented on computers, and what you can do with them. We’ll be thinking about what a number is, particularly the distinction between the number itself and the way we can write it down or represent it electronically. Code samples from this chapter are implemented in math.cst in the script Chapter 1 (numbers, floats and bases), apart from floor and ceil which are in numerical utilities. Additional functions related to the exercises can be found in the 3

4

Mathematics and Physics for Programmers

script floats. (If this is not clear, consult Appendix C for details about how to use the CD-ROM.)

WRITING NUMBERS Our first step is to consider what kinds of numbers you might encounter in the mathematical universe. Integers, Rationals, and Irrationals Mathematicians divide the world of numbers into several subsets. The first numbers to be recognized were the counting numbers or natural numbers, represented by the symbol N. These are the numbers we learn as children—1, 2, 3, 4, ... , as well as the special number 0. Each of these can represent a distinct number of “things.” When we add the negative numbers we have the set of integers Z. With the integers, we are already getting into difficult territory: what exactly is a negative number? We can think about negative numbers in terms of a transaction: If you have 5 marbles and Anne has 4, when you give her 2 marbles, we can just as well say she’s giving you 2 marbles. Either way, you add 2 marbles to one side and subtract 2 from the other. But it is better to think about negative numbers in terms of an operation of “the other way around,” because then we can see why two negative numbers multiplied together give a positive number: You give Anne 2 marbles, which is “the other way round” to her giving you 2 marbles (i.e., she gave you 2). If you do this 2 times, it’s the other way round from her doing it 2 times, so it’s the other way round from 4, giving us 4. If this sounds confusing, that explains why it took centuries for people to accept the idea of negative numbers at all. Fractions, the quotients of two integers, came sooner: first the fractions of 1 ( 1 2 , 13 , etc.)—the reciprocals of the natural numbers—then the other simple fractions (fractions between 0 and 1, such as 2 3 ), then the vulgar fractions (fractions greater than 1, such as 5 4 ), and finally the complete set of rational numbers Q, which includes both positive and negative fractions (as well as the integers, which are a special kind of fraction with denominator 1). The quotient of two numbers is what you get when you divide one by another. Similarly, we say the sum, difference, and product respectively to mean the result of adding, subtracting, and multiplying two numbers. Sometimes, quotient means just the integer part of a division, but we’ll come to that later. When one integer is divided by another, the result is a fraction, where the first number is called the numerator and the second the denominator.

Numbers

5

Beyond the rational numbers, you have the remaining irrational numbers: those that cannot be expressed by the quotient of two integers. For a long time it was thought that such numbers didn’t exist, but Pythagoras proved, to his discomfort, that at least one number, the square root of 2, was irrational. We now know that there are fundamentally “more” irrational numbers than rational ones, but we won’t go into this further here. The rationals and irrationals together form the set of real numbers R. There are other kinds of numbers, especially the complex numbers, (numbers that include a multiple of the imaginary number i, the square root of 1), but they are beyond the scope of this chapter, although we’ll touch on them later when we look at quaternions in Chapter 18. The square root of a number n, written n or, in programming, sqrt(n), is a number m such that m  m  n. When you multiply a number by itself in this way, this is called the square of the number, denoted n2, n^2 or power(n, 2). A square is a special case of a power or an exponent. When you take a number n to the power p, written n p or n^p, this means to multiply the number n by itself p times (as long as p is an integer—later we will look some more at powers). Because two negative numbers multiplied together give a positive number, every positive number has two square roots, one positive and one negative, while negative numbers have no real square root.

The Number As a String of Digits It is important to distinguish “numbers” (the “real things” out there in the mathematical universe) from their representation on paper. It is like the difference between the sentence “John met Mary for a drink” and its meaning as a piece of “mentalese,” which might be just as easily expressed as something like event(meet, John, Mary).purpose(drink).

There are many different ways to represent a number. Let’s look at the number 5. We can represent it geometrically as a pentagon or as a set of 5 dots, or physically as 5 beads on an abacus, or use the purpose-made symbol “5,” which is simply defined to mean what we want it to mean. Each of these representations has its own advantages: if you use beads, you can perform operations such as adding and subtracting simply by counting beads back and forth. On the other hand, once you get to larger numbers, which would need an awful lot of beads, using symbols has a big advantage. But of course we can’t have a new symbol for each number. Instead, we use a limited set of such symbols and combine them typographically to represent any number, no matter how big. We do this by means of a base system. We choose a

6

Mathematics and Physics for Programmers

number b as a base, then to represent a number n in that base we perform this recursive algorithm: function NumberToBaseString (Number, Base) if Number is less than Base then set Output to String (Number) otherwise || Find the remainder Rem when you divide Number by Base set Output to Rem set ReducedNumber to (Number – Rem) / Base set RestOfString to NumberToBaseString (ReducedNumber, Base) append RestOfString to the front of Output end if return Output end function

The remainder when dividing n by m is the smallest number r such that for some integer a, m  a  r  n. So the remainder when dividing 7 by 3 is 1, because 7  3  2  1. We will be looking further at the operation of finding the remainder when dividing one number by another in the next chapter. Let’s quickly look through this algorithm (if you aren’t comfortable with recursion, incidentally, there are some notes about it in Appendix B). If we apply it for Number  354 and Base  10, you’ll see what happens. First, we find the remainder when we divide 354 by 10, which is 4, the number of “units” in 354. We write down the number 4 into our output. Now we take away this remainder to get 350, and divide this result by 10. The division works exactly by the definition of a remainder, and the answer is 35. Now we feed 35 into the algorithm again to get 5, the number of “tens” in 354, and 3, the number of “hundreds,” which, unsurprisingly, gives us the string “354,” which is the number we first thought of. It sounds rather unnecessary, really, but this is why you need to bear in mind the difference between the number 354 and its representation in the base 10. If you do the operation in reverse, you can find the value of the number: function BaseStringToValue (DigitString, Base) if DigitString is empty then set Output to 0 otherwise set Output to the last digit of DigitString set RemainingString to all but the last digit of DigitString set ValueOfRemainingString to BaseStringToValue (RemainingString, Base)) add Base * ValueOfRemainingString to Output

Numbers

7

end if return output end function

A number written down in base notation is like an array. Each position in the array represents a value that is Base times the next one, and the digit in that position represents the number of times we add that value to the total. So, in base ten or decimal, the columns, reading from right to left, represent the values 1, 10, 100, ... , and the digits in those columns represent the number of occurrences of that value—e.g., 2631 represents the number given by 2  1000  6  100  3  10  1  1. Decimal, Binary, and Hexadecimal There’s nothing special about using ten as a base—in fact, objectively speaking, ten is a poor choice, and we only use it as a historical consequence of the fact that we have ten fingers to count with. Because 10 is a multiple of 2 and of 5, it’s fairly easy to determine whether a number written in decimal notation is divisible by these two numbers, but it’s much harder to tell if it’s divisible by 4 or 7. However, there are some fairly simple tests for divisibility by 3 or 9. A number is divisible by 3 if and only if the sum of its digits in base ten is divisible by 3. Similarly for 9. You might want to think about this and work out why it is so—it’s a consequence of the base system. So what if we were to use some other base? A good candidate is base 12, which is why the old British currency and Imperial measuring system of feet and inches survived as long as they did: it makes it very easy to divide numbers by 2, 3, 4, or 6. Another is base 60 (used in clocks, along with 12), and another is base 360 (used in measuring angles). However, the last two require a lot of individual symbols to use properly. The Babylonians used them, in fact, but they subdivided them using a base ten system. And base 12, though very logical, never caught on except in limited fields. Base two, or binary, on the other hand, turns out to be useful in quite a different way. In base 2, we represent numbers by powers of two, so the number 11 is written as 1011, or 1  8  0  4  1  2  1  1. As with base ten, this can be done uniquely (at least when working with integers), and while you need far more digits to represent any one number, you only need two symbols to do it, which you can think of as “Yes and No,” or “On and Off.”

8

Mathematics and Physics for Programmers

Base 16 (hexadecimal) goes the other way, representing numbers with 16 symbols. We use the standard decimal symbols 09, and for convenience use the letters A–F for 10–15. So F1A represents 15  256  1  16  10  1, or 3866. Converting between binary and hexadecimal is quite simple, since each hexadecimal symbol can be translated directly into four binary symbols: F1A translates to 1111 0001 1010.

HOW COMPUTERS REPRESENT NUMBERS The binary system is at the heart of how numbers are represented on a computer. We’re now going to look at how this is done, and how the computer processes the numbers. Representing Integers Because binary can be conveniently represented by two symbols, On and Off, it’s an ideal system for computers to use. Deep inside the machine, everything is represented by numbers, which are in turn represented by sets of “switches” (we’re talking conceptually here, of course—the switches are electronic, not physical). Each switch represents one bit of information, i.e., one “on” or “off” of a binary number (“bit” is an abbreviation of “binary digit”). With eight such switches, we can represent any number from 0 to 255; and with 32 switches, we can represent any number up to 4294967295. The computer’s native environment is designed to perform calculations very fast with any number it can represent in such a way, and this is indicated by the number of bits of the processor—a 64-bit machine can handle far bigger calculations than a 32-bit one. Often, one bit of the number is set aside to represent whether the number is positive or negative, so a 32-bit machine actually handles numbers from 2147483647 to 2147483647. Binary numbers are particularly fast because performing operations like addition and multiplication is so easy. Here is an algorithm that adds two numbers represented as strings in binary: function AddBinaryStrings (b1, b2) || pad out the smaller number with leading zeroes so they are the same length set Output to "" set CarryDigit to 0 repeat with Index = the length of b1 down to 1 set k1 and k2 to the Index'th characters of b1 and b2 if k1 = k2 then // the digits are the same, so write the current carry digit

Numbers

9

set WriteDigit to CarryDigit set CarryDigit to k1 // if k1 and k2 are 1 then we are going to be carrying a digit // if they are 0 then we won’t. otherwise // the digits are different, so write the opposite of the current carry digit set WriteDigit to NOT(CarryDigit) // leave the carry digit alone as it will be unchanged end if append WriteDigit to the front of Output end repeat if CarryDigit = 1 then append 1 to the front of Output return output end function

This may seem confusing, but it’s worth examining because these kinds of operations are the key to how computers work. The trick is that in binary we have 01  01  10 and 01  10  11, so we can add according to whether digits are the same or different, rather than worrying about their actual value. This is easy to implement in the computer’s hardware, and means that manipulating integers is a relatively simple operation for a computer. Fundamental to this process are the logical operators AND, OR and NOT, which combine binary (or Boolean) digits together in different ways. If a and b are binary digits, then a AND b  1 if and only if both a and b are 1 a OR b  1 if either a or b or both are 1 NOT a  1 if and only if a  0 Multiplication in binary is similarly straightforward, because it’s a combination of two simple operations, multiplying by 2 and adding. Just as we can multiply by 10 in decimal, we can multiply by 2 in binary by shifting the digits of the number by one place: 6 in binary is 110, and 12 is 1100. Representing Rational and Irrational Numbers We can use base notation to represent non-integers, too, by counting down from 1 as well as up. We use a marker, the radix point, to tell us where to start the count. In decimal, the radix point is called the decimal point, and the first column after the decimal point represents tenths, the second is hundredths, and so on. In binary, the first column after the radix point represents halves, the second quarters, and so on. So the number 1 38 is represented in binary by 1.011 (1 + 1 4 + 18 ).

10

Mathematics and Physics for Programmers

But there is a problem with this system, which is that not all fractions can be represented in this way. In decimal, we have trouble representing 13 , because it can’t be expressed as a sum of tenths, hundredths, etc. It turns out to be the limit 3 3 1 + + ... . We represent this by saying 3 in decimal is of the infinite series 103 + 100 1000 0.333... . The term “limit of the series” actually has quite a precise and important meaning in mathematics, but we won’t go into that here: it should be clear what it means in this case. The key is that the more terms of the series we take, the closer the sum approaches 13 , without ever increasing beyond it. In binary, the situation is even worse—we can’t express any fraction whose denominator is divisible by any number other than 2. In decimal, 15 is exactly 0.2. In binary, it is the infinitely repeating number 0.001100110011 ... , so computers have trouble with fractions. There are two ways to get around this problem. One is to forget radix points and instead to represent the fraction in terms of its constituent integers, the numerator and denominator. Then every rational number can be represented exactly, without any pesky repeating digits. Unfortunately, this makes the situation even worse. If you add 1 2 and 13 the answer is 5 6 . 5 6 + 17 = 41 42 . 41 42 + 111 = 493 462 . Each time we add an incompatible fraction (by “incompatible” we mean that the denominators have no common factor—this will be covered further in the next chapter), we end up increasing the complexity of the denominator. We will quickly find ourselves going above the maximum size for integers, not to mention slowing down all the calculations we are performing. So except in very special cases this is unlikely to be a sensible move. Another problem with this approach is the existence of the irrational numbers, which can’t be expressed exactly as a fraction in any case. We will instead find ourselves forced to find an approximation, in which case we might as well approximate everything! So computers use the base system to represent non-integers, and round the number to the nearest digit. The most obvious way to do this is simply to say we will represent 8 digits after the radix point. But with only a limited number of bits to play with for each number, this seems wasteful—each bit added to the end means one less bit to use at the top, so we’re limiting how large, as well as how small, our numbers can be. So instead of this fixed-point representation, most languages now use floating-point representation, similar to what is called “scientific notation.” In scientific notation, a number is represented by giving the first “significant” (non-zero) digit, and then as many digits as required after that. Then you give an indication of where to place the radix. For example, the number 201.49 could be represented by (20149; 3). In fact, we represent it as “2.0149 e2”—by convention,

Numbers

11

we start with the radix after the first digit and count from there. We can count forward or backward—e.g., 2.0149 e-3 is 0.0020149. The index number is called the exponent, for reasons we will look at later. Floating-point numbers use essentially the same system. There are a number of standard formats—the one we will look at here is the IEEE standard. (IEEE is an organization that has created many standard formats that are used commonly by most manufacturers. These standards are very important for creating a common language between different hardware, and there are similar organizations that decide on Web protocols, mobile phone systems, and so on.) In the IEEE standard, using 32 bits, you use 1 bit for the sign (positive or negative) and 8 bits for the position of the radix point, from 127 (represented by a value of zero) to 127 (a value of 255), therefore allowing the value of the actual number to go as high as a little under 2128. The remaining 23 bits represent the mantissa, or actual digits of the number. Rather ingeniously, because the first significant digit of a binary number is always 1, there is no need to include this digit in the computer’s representation of the number, it is just implicitly there, which gives us one more digit of precision. The actual digits of the floating-point representation are correctly called the significand, although often the word mantissa is used for this too. It’s important to keep clear the difference between the size of the number, which is given by the exponent, and the precision of the number, which is determined by the number of bits in the significand. Although we can represent very large numbers indeed, they are no more precise than the small ones. It is impossible to distinguish between 987874651253 and 987874651254 using a 32-bit floating-point number. Let’s give some examples, to make it clearer. To represent the value 10.5 we first translate it into binary: 1010.1 In scientific notation, this is 1.0101 e3 Translate the 3 into a binary number and add 127 (this value is called the bias—it allows us to represent numbers from 127 to 127 rather than 0 to 255), to get 10000010 for our exponent bits. Pad the 1.0101 out with zeroes to give 24 digits of the mantissa: 101010000000000000000000 Ignore the first 1, which we can take as read, leaving a 23-bit significand: 01010000000000000000000 And the final bit is zero, representing a positive number rather than a negative one. To represent the value given in decimal by 1 e-35 In binary scientific notation, this is 1.10101001010110100101101 ... e-117

12

Mathematics and Physics for Programmers

Translate the 117 into binary and add 127 to get 1010 for our exponent, which we pad out with zeroes to get 8 bits: 00001010 The significand is the first 23 bits after the decimal point: 10101001010110100101101 And the final bit is one, representing a negative number. The only problem with omitting the initial 1 of the mantissa is that it would leave no way to represent a floating-point value of exactly zero. Fortunately, we can add one extra trick, which is to say that when the exponent part of the number is zero, we don’t assume a leading 1. This also means we can represent numbers smaller than 2127, as long as we accept that these numbers will be less precise than usual. Using this trick of denormalization, we can represent numbers as low as 2149. So zero is represented, as you would expect, by the floating point number given by a zero significand, and a zero exponent (the positive/negative bit can be either value). There are also a number of other special cases, which represent overflow and underflow, as well as the value NaN (“Not a Number”), which is sometimes returned when you attempt to do something that has no valid answer, like finding the square root of 1. We’ll illustrate this by one final example: the value given in decimal by 2 e–40 In binary scientific notation, this is 1.00010110110000100110001 e–132 Because –132 is less than –127, we cannot represent this number to the usual precision. But if we shift the exponent up by 5 places, we get a value of 0.0000100010110110000100110001 e–127 We can represent this by an exponent part of 00000000 and a significand of 00000100010110110000100. This gives us five fewer digits than usual, but it’s better than not being able to represent the number at all. In Exercise 1 you are asked to write a set of functions to work with these floating-point numbers. Not all languages use 32-bit floats. Even with a 32-bit processor, some languages use double precision numbers, which combine two 32-bit numbers into one, to give a 64-bit number. This allows a much wider range of numbers to be represented, and to much greater precision. abs(), floor(), ceil(), and round() This seems like a good moment to look at a few important functions that are common, in one form or another, to most computer languages. Many languages do not have all the functions natively, or give them different names, but they are nevertheless processes which are often useful, so worth adding to your personal function library if your language doesn’t have them.

Numbers

13

The simplest of them is the abs() function, which returns the absolute value of a number (float or integer). This is the value of the number, ignoring whether it is positive or negative. We can give the function precisely in just a couple of lines of code: function abs (n) if n>=0 then return n otherwise return -n end function

Remember that if n is negative then n is positive, so the absolute value of a number is its value made positive. Of course, natively the computer doesn’t need to do anything even this complicated, it simply sets the value of the sign bit in the floating-point or integer representation to 0. The other three functions are all ways to convert a float to an integer. In a nutshell: is the largest integer less than n is the smallest integer greater than n Round(n) is the nearest integer to n Floor(n) Ceil(n)

See Figure 1.1 for a graphical representation of these three functions. Note that each range has a solid line at one end and a broken line at the other, representing the fact that, for example, floor(n)3 for n greater than or equal to 3, but less than 4.

ceil(n)=k round(n)=k floor(n)=k k-1

k-0.5

k

k+0.5 k+1

FIGURE 1.1 The ranges of floating point numbers that give the answer k using the floor(), ceil() and round() functions.

Each of these functions is useful in different circumstances. Floor(n) and are fairly simple—and quite easy for the computer to calculate from the floating-point representation too. If the exponent of the number is 5, then we can find the positive integer part (call it p) of the number by taking the first 5 digits of ceil(n)

14

Mathematics and Physics for Programmers

the significand. If it’s less than 1, of course, the integer part is zero, and if it is greater than the number of digits in the significand, then we do not know the exact integer part. Now all we need is to check the sign of the number—if it’s positive, then floor(n) is equal to p and ceil(n) is p  1. If it’s negative then ceil(n) is p and floor(n) is (p  1) In this book we represent the “rounding to the nearest whole number” function you are most likely to have used at school by round(n). Round(n) is the integer such that abs(n-round(n)) < 1. Numbers exactly half-way between two integers, such as 1.5, are ambiguous—we define round(n) to round up in those cases. So assuming we have already defined floor(n) and ceil(n), we can define round(n) as follows: Function round(n) Set f to floor(n) Set c to ceil(n) If n-f > c-n then return c // n is nearer c than f If c-n > n-f then return f // n is nearer f than c Otherwise return c // n is half-way between c and f End function

However, again there is a slightly simpler way of calculating the value directly from the floating-point representation. We find the integer part p as before. Then to decide whether to round up or down, we just look at the next digit of the significand, which in binary represents the value 1 2 . If that digit is 0, then the fractional part of the number is less than 1 2 , which means we round down. If it’s 1, then the 1 fractional part is greater than or equal to 2 —either way, we round up. Thus the arbitrary decision to round up halves turns out to be quite handy. If we rounded them down, then if the first digit of the fractional part was a 1, we would still not know whether to round up or down without looking at the rest of the digits. In Lingo, and thus in the code on the CD-ROM, round(n) is calculated using the native function integer(n).

Rounding Errors and Performance No matter how precise we make our floating-point numbers, they are still not exact except in very special circumstances (such as exact powers of 2). This means that there is a danger of introducing errors into calculations which depend on exact precision. In most circumstances, this is not a major problem, but it is not hard to come up with examples where it is an issue.

Numbers

15

(

)

16

Mathematics and Physics for Programmers

floats on a hardware level just as they are with integers, and so generally the difference is not so important. You will usually be able to find much more dramatic parts of your code to optimize! Big Integers One way to deal with functions requiring a lot of precision is to work with bigInteger classes. These are specialized objects which, instead of just using the computer’s processor to store and work with numbers, store them as a long array. We did something like this above when we represented a binary number with a long string of digits. When you do calculations in this way, you are no longer limited by the processor’s built-in number storage. Your array can be as long as you like, limited only by the computer’s memory—instead of having 32 bits to represent a number, you might have a trillion bits or more! This should be sufficiently precise to deal with any calculation you could conceivably want to perform. Of course, because you must perform the calculations at the level of your language rather than directly within the processor, and because each calculation involves many, many more digits, this is much slower. However, in the kinds of situations where you need this sort of precision (detailed physics simulations of hair, water, or fabric, for example), you generally are thinking in terms of letting the computer do the calculations overnight rather than at lightning speed. There are bigInteger classes available for most languages that are used as standard by scientists—lots of them for C—and we won’t go into how they are used here as it doesn’t make a great deal of difference to the actual mathematics.

EXERCISES Exercise 1.1 Write a function ConvertBase (NumberString, Base1, Base2), which takes a string (or array if you prefer) NumberString, representing an integer in the base Base1 and converts it into the base Base2, returning the new string (or array). Make it handle any base from 2 to 16. You might want to make special cases for binary and hexadecimal translation to speed up the function.

Numbers

17

Exercise 1.2 Write a series of functions for calculating addition, subtraction, multiplication, and division using IEEE-style floating-point numbers. Represent the floats as 32bit strings (or arrays) of 1s and 0s. Each function should take two floating-point numbers and return another. Don’t forget the special case when the exponent is zero. You will probably find division to be the most difficult case. Remember that there are hints to the solutions of the exercises in Appendix E, and some answers can be found on the CD-ROM as well as the book’s Web site.

SUMMARY We have covered a lot of ground in this first chapter and it has been quite hard going. There has been a lot of theory and not a lot of practical work, but we’ve seen how numbers are defined and written, and how they are represented on the computer, and we’ve seen some of the problems this can create. In the next chapter, we will start working with these numbers to make some actual calculations.

YOU SHOULD NOW KNOW the meaning of the terms integer, fraction, rational, numerator, denominator, fixed-point number, floating-point number, exponent, mantissa, significand, base, binary, decimal, and decimal point, among others the difference between the value of a number and its representation as a string of digits how computers represent and calculate with integers and floating-point numbers how to convert a float to an integer in various ways why rounding errors are an essential consequence of working with floats and how to avoid them in some circumstances

2

Arithmetic

In This Chapter Overview Fractions and Remainders Proportions, Ratios, and Percentages Exponentials Logarithms Exercises Summary You Should Now Know

OVERVIEW For this chapter and the next one, we are going to go right back to basics. We need to cover this ground in order to deal with the more complex topics presented later in the book, though most of it is almost certainly material you have covered in school. Despite this, you should at least skim over it: you would be amazed how many people come up against problems because they didn’t understand some simple, basic concepts. They manage for a long time by finding workaround strategies, or using techniques they have learned by rote without really knowing what they are doing. For the first of our two fundamentals chapters, we will look at some essentials of arithmetic, working with the integers, rationals, and floats, which we saw in Chapter 1. Of course we won’t cover the whole of arithmetic, but we’ll look at a few

19

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Mathematics and Physics for Programmers

particular topics that are often troublesome, and some that are commonly useful in programming. Code samples from this chapter are implemented in math.cst in the script Chapter 2 (fractions, primes and arithmetic). Additional functions related to the exercises can be found in the script mortgages.

FRACTIONS AND REMAINDERS We glossed over the details of working with fractions in the previous chapter, but because so many people seem to have trouble with them, we’ll spend a little time looking at them in more detail, starting with some basic arithmetic and then seeing where that takes us. Calculating Fractions Remember that a fraction is something like an instruction: it tells you to divide a by b. So the fraction 25 is exactly the same as the value 2 ÷ 5. In fact, the division symbol ÷ is just a representation of this process: the two dots represent the numerator and denominator of a fraction. In this book, fractions will mostly be represented using a diagonal line, as in 1 2 , 1 rather than a horizontal line as in 2 , because it takes up less space, but sometimes we’ll use the latter method if it makes things clearer. Multiplying and dividing fractions is fairly straightforward: To multiply two fractions, you simply multiply the numerators and multiply the denominators: 25 × 73 = 52 ×× 73 = 356 . Multiplication is represented by the English word “of,” as in “two fifths of three sevenths,” just as with integers you might say “five of these apples” and mean 5  apple. It’s easier to see how it works by breaking the process up into two steps: dividing by the denominator (“take one fifth of three sevenths”), and then multiplying by the numerator (“now we want two of those”). Of course, when multiplying a fraction by an integer, you just remember that an integer is a fraction with denominator 1, which means that you can multiply the fraction’s numerator by the integer and leave the denominator alone (multiply it by 1). 2

3

3

7

To divide 5 by 7 , what we do is to firstly flip 7 over to become 3 (its reciprocal). Then we multiply: 25 ÷ 73 = 25 × 73 = 14 . 15

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Why? Well, let’s start with integers. Dividing by 2 is halving the number, which means taking half of the number, which as we just saw is the same as multiplying by 1 1 2 . Similarly, when you divide a number by 2 , you want to find out how many halves go into it, which is twice as many as the number of 1s that go into it. And since the number of 1s that go into a number is the number itself (anything divided by 1 is unchanged), this means that a number divided by 1 2 is multiplied by 2. Division is represented by a number of words in English, such as “per”—your speed in miles per hour is the number of miles travelled divided by the number of hours taken—as well as “each” and “a.” Addition and subtraction of fractions is a little more complicated. As long as two fractions have the same denominator, we can add and subtract them quite simply. We leave the denominator unchanged, and just perform normal arithmetic with the numerators: 53 + 15 = 45 ; 53  15 = 25 . Essentially, we’re simply counting, it’s just 1 that the objects we are counting happen to be units of 5 . But as soon as you want to add fractions with different denominators you hit problems, because the units you are trying to add are different. Fortunately, every fraction can in fact be represented an infinite number of ways: multiply the numerator and denominator by any number at all and you end up with the same fraction. This is because any number divided by itself is 1, which 2 3 means that the fractions 2 , 3 and so on are all equal to 1, so we can multiply by any of these fractions and leave the number unchanged. This means that we can make calculations easier by choosing the most convenient representation for them. Suppose you want to add 12 to 14 . It’s much easier to do this by realising that 12 is actually equal to 24 (multiplying top and bottom by 2), and now, because both fractions have the same denominator, we can use the fact that 14 + 24 = 43 . This process even 2 works if we are adding fractions which can’t be easily converted, such as adding 3 3 to 5 . We simply “cross-multiply,” which means that we multiply the numerator and denominator of each fraction by the denominator of the other—in the jargon, we “put them over a common denominator” (see Figure 2.1).

2 + 3 = 25 + 33 = 25 + 33 = 19 3 5 35 53 35 15 FIGURE 2.1 Cross-multiplying.

Let’s do this formally as a function. We’ll represent each fraction by a 2element array:

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Mathematics and Physics for Programmers

function addfractions(f1,f2) set num1 to the numerator of f1 set den1 to the denominator of f1 set num2 to the numerator of f2 set den2 to the denominator of f2 if den1 = den2 then return the fraction(num1+num2, den1) otherwise set num3 to num1*den2 set num4 to num2*den1 return the fraction(num3+num4,den1*den2) end if end function

The only problem with this function is that the calculations involved are potentially much more complicated than they need be. Look at the earlier example of 1 1 4 2 + . You can see that using this function, it would actually calculate + , instead 2 4 8 8 6 3 2 1 of the simpler 4 + 4 . What’s more, the final answer would be given as 8 rather than 4 , which while technically correct is not what you really need. Factors and Factorization Let’s look at the latter issue first. Our technique for adding fractions was to switch them to a more complicated representation so they are easier to add. What we need to do is to switch them back to a simpler version at the end. This is called reducing a fraction to its lowest terms, and to do it we need to look at factors. A factor or divisor of an integer is another integer which can be divided into it exactly. So 1, 2, 3 and 6 are all factors of 6. If n is a factor of m then we say that m is a multiple of n (or more strictly it’s an exact multiple or integer multiple) 6 is called a “perfect number,” because it is the sum of all its factors other than itself: 1 + 2 + 3 = 6. The Pythagoreans were particularly fond of perfect numbers. If we look at the fraction 86 from the previous section, we can see that it would be much simpler if we divided everything by 2 to make it 43 . 2 is a factor of both the numerator and the denominator: it is a common factor of 6 and 8. In fact, because 6 and 8 have no common factor greater than 2, it is called the highest common factor, or more often, the greatest common divisor or GCD. To reduce a fraction to its lowest terms, we need to divide the numerator and denominator by their GCD. You will sometimes see the GCD of two numbers n and m written as (n, m). We won’t use that notation here because it’s too easily confused with other notations of the same kind. Instead, we’ll write it as gcd(n, m).

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In school, you probably found GCDs by finding the prime factors of the two numbers. We’ll see a simpler method in a moment, but let’s look at the prime factors anyway, because they are useful in their own right. To explain prime factors, we first need to define prime numbers. A prime number (or just “a prime”) is a number whose only factors are itself and 1. Conventionally, we exclude the number 1 from the list of primes, because it’s something of a special case and makes for a better pattern. The list of primes goes 2, 3, 5, 7, 11, 13, 17, 19, ... . The prime numbers are something like the building blocks of multiplication, and there is a huge body of work about them—looking for patterns in their distribution, and particularly looking for ways to test whether or not a number is in fact prime. They are particularly important in the field of cryptography. You can generate a list of prime numbers less than some number M quite quickly using a technique known as Eratosthenes’ Sieve. To do this, start with a list of all the numbers from 2 to M. Then repeat this process: Take the first number in the list, and delete all the numbers in the list that are divisible by this number (we’ll return to the testing of divisibility shortly). Remove the number from the list and add it to your list of primes. You only need to do this until the first number in the list is greater than M . Once you’re past that point, all the remaining numbers must be prime, since they’re not divisible by any number smaller than the square root (you’ve crossed those ones off), and any product of two numbers bigger than M must be bigger than M. Here’s the algorithm in code: function listOfPrimes(M) || make an array with all the numbers from 2 to M and call it nlist set maxM to floor(sqrt(M)) // the biggest number we need to check set index to 1 repeat while nlist[index] is less than maxM set prime to nlist[index] repeat for index2 = index+1 to the number of elements in nlist if nlist[index2] is divisible by prime then delete it from the list end repeat add 1 to index end repeat return nlist end function

Now we can come back to prime factors. A prime factor of a number n is, much as you might expect, a prime number which is a factor of n. Every number can be represented in a unique way as a product of prime numbers—for example, 12  2  2  3 (this fact goes by the very grand name of the “Fundamental Theorem of Arithmetic”). A number with more than one prime factor is said to be composite.

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Mathematics and Physics for Programmers

The Fundamental Theorem is one of the reasons we say 1 is not prime, because it would be an exception to this rule of uniqueness. We could represent any number as a product of its prime factors and any number of 1s. To find the prime factors of an arbitrary number n, the only absolutely reliable way is simply to keep dividing it by prime numbers until you find one. Of course, this can be a slow process for large numbers, but it’s not too bad for small ones, especially if you have already generated a list of primes. Here’s a function that will do it. function primeFactors(n) // create a list of possible primes set plist to listOfPrimes(floor(n/2)) set rlist to a blank array set index to 1 repeat while index 12 // drop 12s until we're in the range 1-12 subtract 12 from newHours end repeat return array(newHours,newMinutes) end function

Obviously, this isn’t a particularly complicated function. But still, using modulo arithmetic we can simplify it substantially:

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Mathematics and Physics for Programmers

These kinds of calculation take some getting used to, so we’ll look at them in more detail. In the first line, we worked out the new minutes. These should be in the range 0–59. So we take the full number of new minutes (oldMinutes  addMinutes), and find their value modulo 60. In the next line, we work out how many hours were taken out in that calculation, and for this we use a trick: remember that strictModulo(n, m) is the remainder when n is divided by m. This means that n = a*m + strictModulo (n, m), for some a. So to find a, we can subtract strictModulo (n, m) from n and divide by m. In this case, a is the number of hours (multiples of 60 minutes). So we increase our addHours by this amount. Although this method is often useful and so worth seeing, in this case it would be even simpler just to find a as floor(n/m). In the third line, we find the newHours. The only complication here is that the newHours need to be in the range 1–12, rather than 0–11 as strictModulo () would give us. To fix this we do something a bit sneaky. We subtract 1 from newHours before taking the modulo, which gives us the number 1 less than the true number of hours, in the range 0–11. Then adding the 1 back on gives us the true answer in the range we need. Again, these calculations can be a little confusing. But most situations involving the modulo function tend to be variants on the three tricks we saw here. 1. Using mod(n,m) to reduce n to the range 0 to m – 1 (cycling through data) 2. Subtracting mod(n,m) from n to make n exactly divisible by m 3. Pre-subtracting or adding numbers from n before taking mod(n,m), then adding or subtracting them back to bring the value into a different range, especially 1 to m Another example of this is when initializing large sets of data, especially when creating a grid. Suppose you have an array of n  m objects which are to represent a grid of squares n wide and m high. Each object knows its number in the array and wants to calculate its position in the grid. We can do this quickly with a modulo function:

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function positionInGrid (squareNumber, numberOfColumns) set positionAcross to 1 + mod(squareNumber-1,numberOfColumns) set positionDown to (squareNumber—mod(squareNumber, numberOfColumns)) / numberOfColumns return array(positionAcross, positionDown) end function

PROPORTIONS, RATIOS, AND PERCENTAGES Let’s get back to fractions. One of the most powerful interpretations of a fraction is as a ratio between the numerator and denominator, and another is as a percentage. We’ll look at these two concepts in this section. Mapping Between Ranges of Values “Ratio” (or proportion) actually means pretty much the same thing as “fraction,” but is used in different circumstances, particularly when relating similar objects (similar here has a mathematical meaning as well as its normal English one, which we’ll encounter in Chapter 5). We write ratios using the colon: the ratio 4:3, for example, is equivalent to the fraction 4 3 . Two objects are in the size ratio 4:3 if one is 4 3 times the size of the other. We often use ratios to describe how we divide something up, so we might choose to divide a cake in the ratio 1:2, making one piece twice as big as the other. To do this, we use the fact that 1 +1 2 + 1 +2 2 = 11 ++ 22  1; that is, we divide the cake into two pieces, one 13 the size, the other 2 3 the size. Ratios are most useful when dealing with scales of objects. If a piece of paper is 297 mm wide and 210 mm high (standard A4 size), then when we scale it to double size, its sides remain in the same proportion. This isn’t surprising, because as we have seen, multiplying both the numerator and the denominator of a fraction by the same number leaves the fraction unchanged. This fact is quite useful when scaling an object. If we know the initial ratio of the height to the width, then to calculate the height given the width, all we need to do is to multiply the new width by the same ratio: function newHeight (originalWidth, originalHeight, newWidth) return newWidth * originalHeight / originalWidth end function

You can also think about this the other way round: when scaling any object, every linear measure of the object (its diagonal, height, width, perimeter length,

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Mathematics and Physics for Programmers

etc., but not area or volume) is multiplied by the same amount. So if you know the original value and new value of any one of these, every other dimension must be multiplied by the proportion of the new value to the old. So newDiagonalLength = originalDiagonalLength * newHeight / originalHeight, for example. This fact makes it rather easy to create a mapping function between two rectangles. If you know the coordinates of a point in one rectangle, you can relate them to the equivalent point in the other rectangle by simply multiplying them by the same proportion. As we haven’t covered coordinates yet, we won’t go into this further here, but you might want to come back to it as an exercise later. Incidentally, the A classification of paper sizes is chosen specifically so that when you cut a piece of paper in half horizontally (in portrait format), you get the next A-size up (see Figure 2.2). We can represent this algebraically as aHeight aWidth = aWidth ( aHeight / 2) so aHeight 2 = 2 × aWidth2 so

aHeight = 2 aWidth

So for each size of paper, the height is ¹ close to it: ©ª« 297 = 2.0002... . 210 º» 2

2  1.414… times the width, or very

840mm

A3

A5

297mm

210mm

A1

A2

A4

FIGURE 2.2 The A-series of paper sizes.

594mm

420mm

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Another useful proportion is called the golden ratio, a favorite of mystical mathematicians and represented by the Greek letter Phi: O. This is the proportion of a piece of paper such that if you cut a square-sized piece from one end, the remaining piece is in the same proportions as the original (see Figure 2.3). We won’t do the algebra here (it’s a neat little exercise if you want to practice your quadratic equations later), but it turns out that O = 1 +2 5 = 1.618....

0.618

1

0.618 1

1+0.618 1 = 1 0.618

FIGURE 2.3 The Golden Ratio.

The ancient Greeks and other thinkers through the ages have ascribed all kinds of wonderful properties to O, calling it the Divine Proportion, the Golden Mean and so on, and believing that when objects are placed on the canvas with such proportions they are the most aesthetically pleasing. Actually, recent psychological tests on the subject have shown that this isn’t really true, and the proportion 1:sqrt(2), as with the A-series of paper sizes, is much closer to the most popular. While we are on the subject of the golden ratio, it’s appropriate to mention the Fibonacci Sequence. This is the sequence of numbers 1, 1, 2, 3, 5, 8, 13, 21, ... , where each number is the sum of the two previous numbers. This sequence crops up a lot in nature, for reasons that are most likely to do with optimal methods of growth. And as it happens, the ratio between successive terms of this sequence rapidly approaches O. What is more, this happens with any sequence of numbers generated by the same rule as the Fibonacci sequence.

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Mathematics and Physics for Programmers

Making a Slider Another common area where we use the notion of a proportion is when making a “slider”: a graphical representation of a range of numbers. In the standard slider, we have a line representing the range of numbers we are looking at (say from 10 to 100) and a movable pointer representing the current value (see Figure 2.4).

10 20 30 40 50 60 70 80

FIGURE 2.4 A standard slider.

To make a slider, we need to know four values: the position of each end of the line, and the maximum and minimum values they represent. For now we won’t worry about what we mean by the “position” of the ends of the line (we’ll look at coordinates later), just think of it as a number—say 100 for one end and 200 for the other. On initializing the slider, you can quickly calculate its “intrinsic proportion” (not a standard term). You can think of this as the range of values represented by one unit of the slider, and we calculate it by finding the size of the total range divided by the total length of the slider. intrinsicProportion =

maxValue  minValue endPoint2  endPoint1

Now, to find the value represented by a particular point on the slider, we find how far it is along the slider, multiply that by the intrinsic proportion, and then add on the minimum value: Value  (thisPoint  endPoint1)  intrinsicProportion  minValue Notice how similar this is to calculating proportions of a scaled piece of paper. Ultimately, it’s the same process. You’ve created a virtual piece of paper whose width is the length of the slider, and whose height is the range of values represented. When we find a new point, we scale down to another rectangle with the new width, but in the same proportions. We just have to remember that our rectangle doesn’t necessarily start at zero, so we have to add on our minimum value as well.

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We can go the other way too. If we have a particular value we want to represent, we can find its position on the slider by finding its distance from the minimum value and dividing by the intrinsic proportion, then adding the endpoint: newPoint =

thisPoint  minValue + endPoint1 intrinsicProportion

If you have trouble working out which way round to make the calculation— divide or multiply—the easiest way to make sure is to plug in one of the end values and see what happens. Try setting thisValue to minValue in the first formula. You’ll see that you get newPoint  0  endPoint1, which is the first endpoint. If we instead set thisValue to maxValue, we get newPoint =

maxValue  minValue + endPoint1 intrinsicProportion

Recall that dividing by a fraction is the same as multiplying by its reciprocal, so we have

(

)

newPoint = maxValue  minValue ×

endPoint1  endPoint2 + endPoint1 maxValue  minValue

You can see that in this fraction, the (maxValue – minValue) terms cancel out, which gives us: newPoint = endPoint2  endPoint1 + endPoint1 = endPoint2 So this gives us the second endpoint. Try doing the same checks in the second formula. Scrollbars are a special kind of slider which represent the position of a small image within a large one. The principle is the same as with the standard slider, but it is complicated by the fact that the small image may vary in size. Let’s take, for example, the idea of a scrolling piece of text. If you know the height of the text in pixels, and the height of your scrolling window, then your scrollbar is a slider which represents the values between 0 (the topmost position) and textHeightwindowHeight (the bottommost position). These values represent the pixel location of the text at the top of your window. When the text is at position textHeightwindowHeight, then the bottom of the window, windowHeight pixels away, is at textHeight, the bottom of the text.

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Mathematics and Physics for Programmers

If you look at the scrollbars in standard windows, you see that they also resize the sliding marker within the bar, to represent how much of the image you can see. This proportion is given by windowHeight / textHeight (see Exercise 2.1). Calculating Percentages Percentages are yet another kind of fraction. The number 20% is nothing more or 20 less than the fraction 100 (the word “percent” means “per cent,” or “per hundred”). Calculating with percentages is therefore a fairly straightforward extension of calculating with fractions, with the help of our English-to-Math translation skills. 1. 20% of 1000 is the same as 20/100 multiplied by 1000, which is 200. 2. 20% off 1000 is 1000 – 20% of 1000, which is 1000 – 200  800. 3. 20% more than 1000 is 1000  20% of 1000, which is 1000  200  1200. These last two calculations can be simplified slightly by adding or subtracting the percentage from 100 first: 1. 20% off 1000 is 80% of 1000. 2. 20% more than 1000 is 120% of 1000. Going the other way is just as simple. If an item is knocked down from \$25 to \$20, you can calculate the percentage decrease. The item has dropped by \$5, which 5 5 is 25 of its original value. 25 × 100 = 20 , so this is a decrease of 20%. Percentages only become complicated in the world of compound interest, such as when money is added to an account by a fixed percentage each year. If you have a bank account which pays 3% interest, and you put in \$1000, how much will you have at the end of 10 years? You might think that it’s just a matter of adding 3% of \$1000, which is \$30, each year, but of course at the end of the second year you don’t have \$1000 any more, but \$1030, so the percentage is wrong; instead, you have to count the increase cumulatively. The following, and similar lists in this section, are outputs from the mortgage calculating function. See Exercise 2.2 and the mortgages script in math.cst on the CD-ROM. At At At At At At At

the the the the the the the

end end end end end end end

of of of of of of of

year year year year year year year

1 2 3 4 5 6 7

you you you you you you you

have have have have have have have

103% 103% 103% 103% 103% 103% 103%

of of of of of of of

\$1000 = \$1030 \$1030.00 = \$1060.90 \$1060.90 = \$1092.73 \$1092.73 = \$1125.51 \$1125.51 = \$1159.27 \$1159.27 = \$1194.05 \$1194.05 = \$1229.87

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At the end of year 8 you have 103% of \$1229.87 = \$1266.77 At the end of year 9 you have 103% of \$1266.77 = \$1304.77 At the end of year 10 you have 103% of \$1304.77 = \$1343.92

Notice how quickly compound interest rises compared to just adding \$30 each year—after 10 years you have earned \$43.92 more than you would have done by adding \$30 a year. This is a percentage increase of 43300.92 × 100 = 14.64% —your earnings were nearly 15% higher than they would have been under simple interest. (Could you have done that calculation? If not, look back over the beginning of this section until you understand it.) The interest rises so much faster because it is an exponential growth (multiplying by the same amount each year) rather than a linear growth (adding the same amount each year). We’ll look at this some more in a moment. For now just note that the above calculation can be summed up as: After n months you have initialCash  increasen, where increase is the perinterest ) centage increase, given by (100 +100 , or 1  + interest . 100 Interest on debts is similar, although loans such as mortgages are complicated further by the fact that you are paying off the debt as you go along. You may have seen the “mortgage calculators” you can use to enter the amount of mortgage, interest rate and years of payment. This is probably the most complicated type of percentage calculation, so let’s give it a try. (Incidentally, we’re describing here a particular kind of capital and repayment mortgage: the precise nature of mortgages varies from country to country and lender to lender.) Let’s start by working the other way round. Suppose you are paying a monthly amount of \$1000 on a mortgage of \$100000, at an interest rate of 5%. How long would it take to pay off the mortgage? To start with, we have to convert the interest rate into a monthly form. Let’s also make it a fraction so we don’t have to worry about percentages. So the annual 5 interest rate is 100 or 0.05, and we divide this by 12 to get the monthly interest rate of 0.00417. Note that this already means that the true interest rate over the year is in fact more than 5%, because this is compound interest. The annual interest is 1.0041712  1 = 0.0511, or 5.11%. Clever people, those bankers. So at the end of each month, the debt is increased by 0.00417, that is, it is multiplied by 1.00417. After one month, this would be \$100417. Then your payment is taken off the debt, so the current value of the loan is now \$99417. Each month, you calculate: newLoan = oldLoan × 1.00417  \$1000 So let’s work it out in a table: At the end of year 1 the loan is \$92837.33 At the end of year 2 the loan is \$85308.21

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Mathematics and Physics for Programmers

At At At At At At At At At

the the the the the the the the the

end end end end end end end end end

of of of of of of of of of

year 3 the loan is \$77393.89 year 4 the loan is \$69074.65 year 5 the loan is \$60329.79 year 6 the loan is \$51137.52 year 7 the loan is \$41474.95 year 8 the loan is \$31318.03 year 9 the loan is \$20641.47 year 10 the loan is \$9418.67 month 130 the loan is \$0

So this mortgage took just over 10 years to pay off—and you paid back significantly more than your original loan: your total payment was \$129628.96, nearly 30% more. We can write the above as another formula, although the algebra is a lot more complicated: debtAfterNMonths  initialAmount  In  monthlyPayment  (In–1 + In–2 + ... + I + 1) where I is the monthly increase, given by 1 + annualInterest . 1200 The sequence I n1 + I n2 + …+ I + 1 is a special case of what is called a geometric progression, and turns out to have a value of II ––11 , so the final formula is n

debtAfterNMonths = initialAmount × I n  monthlyPayment ×

In 1 I 1

.

Suppose, as with a normal mortgage calculator, you want to calculate what monthly payment you will need to pay off the debt in a particular number of years, assuming a fixed interest rate. This means setting the amount of debt to 0 in the above formula, setting n to the correct number of months, and inverting the formula, which is a tricky algebraic exercise which we will not do here (but try it yourself after covering the Simplification section in the next chapter), and leads to: monthlyPayment = initialAmount ×

I 1 , where n = numberOfYears × 12 In 1

Plug in the values of \$100000 at 5% over 10 years, and we get a monthly payment of \$1060.66, which is just what the online calculators will tell us.

EXPONENTIALS We’ve used the power function several times already, and we said, only halfcorrectly, that it represents “multiplying a number by itself n times.” This is all very well as far as it goes, but the power function is actually more complex than that.

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Calculating with Powers What does it mean to multiply a number by itself –0.3 times? It seems to make no sense, but if you try entering power(2, -0.3) the computer will spit the value 0.81 back at you quite happily. The idea of negative and fractional powers actually follows on quite quickly from the original definition. We’ll start off slowly by asking some basic questions, then build up: What is n pq? This means: multiply n by itself (p  q) times, which is the same as multiplying it by itself p times and then multiplying the result by it q times. So n pq  np  nq What is n pq? This means: multiply n by itself p  q times, which is the same as multiplying it by itself p times, and doing that q times, which means n pq  (np)q  (nq)p What is n 0? By the addition formula, we know that for any p, n 0p must be equal to n 0  np. But n 0p  np, so for any n, n 0  1 What is (n  m)p? This means: multiply (n  m) by itself p times, which is the same as multiplying n by itself p times and multiplying m by itself p times, then multiplying the results, which means that (n  m)p  np  mp What is (nm)p? We saw this the other way round in the first example, but just to confirm, this means: Multiply nm by itself p times, nm  nm  ... nm, which by the first addition formula we know is equal to n mp What is n p? By the addition formula, we know that n pp  np  n p. But n pp  n0  1, so this means that n p = n1 p

1/p

What is n ? Take a look at (n1/p)p. We know that this is equal to n(1/p)p, which is equal to n1, which is n. Therefore n1/p is the number such that when taken to the pth power it is equal to n, otherwise known as the pth root of n. So, for example, the square root, or second root, of n is equal to n1/2. So essentially the special definitions for negative or fractional powers follow on quite naturally from just trying to make them consistent with the definition for integer powers. In fact, you can define a power function for all kinds of things,

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Mathematics and Physics for Programmers

including imaginary numbers, matrices and even functions themselves, but we’re getting beyond ourselves. One warning: Within the realm of real numbers, fractional powers of negative numbers tend to be a bit of a problem. We’ve already mentioned the fact that there is no square root of –1, but there is a cube root (which is also –1). In general, computers and calculators tend to avoid the problem by simply not letting you even try, so even if you were to try to take power(-1,1/3.0), which does have an answer, it won’t let you—and given that the computer has no native way to represent the exact fraction 13 , it makes sense. If you need to find the cube root (or any other root) of a negative number, find the root of its absolute value and check it: function mthRoot (n, m) if n 0, then the equation has exactly one real root, the value r + s, where r  3  q + D and s  3  q  D . If D = 0, then the equation has two roots, 2 × 3 q and  3 q (a double root). If D < 0, then we can find the three roots by using a trigonometric function. We won’t look at these until the next chapter, but for reference, the roots are given by

Algebra

t = 2  p cosV , where

59

¹ 1 © 1 ©  q ¹ ª cos ª º  2U k º for k = 0, 1 or –1 ª«  p 3 º» 3 ª« º»

Having found values for t, we can then transform these into values for x by taking x = t  a3 again. As you can see, this process is much more complicated, but bearable. Here it is as a function: function solveCubic(a,b,c,d) // d is the coefficient of the cubic term, the default being 1 if d is defined then divide a, b and c by d set p to b/3 - a*a/9 set q to a*a*a/27—a*b/6 + c/2 set disc to p*p*p + q*q if disc>=0 then set r to cubeRoot(-q+sqrt(disc)) if disc=0 then set ret to [2*r, -r] otherwise set s to cubeRoot(-q-sqrt(disc)) set ret to [r+s] end if otherwise set ang to acos(-q/sqrt(-p*p*p)) set r to 2*sqrt(-p) set ret to an empty array repeat for k=-1 to 1 set theta to (ang—2*pi*k)/3 append r*cos(theta) to ret end repeat end if subtract a/3 from each element of ret return ret end function

This algorithm is adapted from the method described in Mathematics for 3D Game Programming (Lengyel), which is a particularly elegant formulation. Other methods that may seem to involve fewer miracles can be found on the Web, but tend to require a knowledge of complex numbers. A similar process can be used to solve quartic (4th-degree) equations, but we won’t worry about that here. If you’re not familiar with the trigonometric functions yet, we’ll look at them much more in the next chapter and beyond.

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Solving Simultaneous Equations by Substitution If you have more than one unknown in an equation, it is not generally possible to determine them both. For example, if x + y = 5 then x could be 1 and y could be 4, or x could be 10 and y could be –5, or an infinite number of other combinations. However, if you have some more information, such as another equation, it may be possible to find both unknowns. In general, if you have n unknowns, then you need n independent equations to find them (where by independent we mean that none of the equations can be deduced from the others). Fewer than n equations will not give you enough information, and more than n may give you too much, so that you can’t solve the equations consistently. A set of equations with the same unknowns is called a set of simultaneous equations. Let’s look at how you might solve a simple pair of simultaneous equations in two unknowns first, then look at more general methods. Suppose we have these two equations: 1. x + 3y = 10 2. 5x – 2y = –1 There are several ways to solve this, which as usual amount to much the same thing, but are useful in different situations. The first is by substitution: we use one equation to find the value of one unknown as a function of the other (essentially a formula), and then substitute that value into the second. In this case, if we rearrange equation 1 we get x = 10  3 y . If we then substitute this value into equation 2, we get 5(10  3 y )  2 y = 1 50  15 y  2 y = 1 17 y = 51 y=3 This process is called eliminating x—we use one equation in order to make a new equation for y that doesn’t involve x. Having found the value of y, we can now use our function for x: x = 10  3 y = 10  9 = 1. And if we substitute these values for x and y back into equation 2, we get 5x  2 y = 5  6 = 1, just as we needed. This method is most useful when dealing with non-linear equations—those involving terms such as x 2 , y 2 or xy . Let’s do a difficult example, just to prove that we can (don’t worry if you have trouble following this, it’s much more advanced than the other examples we’ve looked at so far). Look at this pair of equations:

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1. 3x + 2xy = 7 2. 2x + 5y – y 2 = 8 If we look at the first equation, we can factorize the left-hand side to get 7 x (3 + 2 y ) = 7 , which means that x  3 + 2 y . We can now substitute this value into the second equation: © 7 ¹ 2ª + 5y  y2 = 8 º « 3+ 2y» 14 + 5 y (3 + 2 y )  y 2 (3 + 2 y ) =8 3+ 2y

(

14 + 5 y (3 + 2 y )  y 2 (3 + 2 y ) = 8 3 + 2 y

)

14 + 15 y + 10 y  3 y  2 y = 24 + 16 y 2

2

3

0 = 2 y 3  7 y 2 + y + 10 This is a cubic equation, which we know how to solve, but fortunately in this case there is a simple answer which you can see by inspection: if you substitute the value y = –1 into the expression on the right, you do in fact get the answer 0. So this means that the expression ( y + 1) must be a factor. (This is an example of a general theorem which says that if a is a root of a function f(x), which is to say a value such that f(a) = 0, then ( x  a ) is a factor of the function.) To factorize a polynomial expression when you know one of the factors is quite a simple task. You just take it one step at a time: You know that 2 y 3  7 y 2 + y + 10 = ( y + 1)(...) , for some expression inside the brackets. The first term in the brackets must be 2 y 2, so that the first term when expanded will be 2 y 3 . This means that the factorization must be ( y + 1)( 2 y 2 + ...) . If you try expanding this tentative expression, you get 2 y 3 + 2 y 2 + ... , but the term in y 2 should actually be 7 y 2 . So we need another term of 9 y 2 to make up the difference. This means that we now have the tentative factorization ( y + 1)( 2 y 2  9 y + ...). Again, expand this expression to get 2 y 3  7 y 2  9 y + ... Now we need to match the coefficient of y, which should be 1. To get this, we need to add another 10y to the answer, which means our final factorization is ( y + 1)( 2 y 2  9 y + 10) . When we multiply out these brackets, we get the answer we were looking for. Now we have a quadratic function, and we can factorize this as before: we need two numbers whose product is 20 and whose sum is –9, which are –5 and –4. This gives us a final factorization of ( y + 1)( y  2)( 2 y  5) —if you don’t follow that step, go back to the section on factorization, as you should be able to factorize a quadratic equation by now.

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We are almost there! From the above factorization of the cubic equation, we now know that there are three possible values for y: y = 1 , y = 2 or y = 5 2 . For each of these values, we can now substitute back into equation 1, to get three possible pairs of values x and y: (7, –1),(1, 2), or ( 7 8 , 5 2 ). Substituting any of these pairs into equation 2 will give you the answer 8. Exhausted? That is not surprising, since this was a particularly difficult problem, but it was worth it because it showed you the power of substitution methods. Now let’s get back to linear simultaneous equations and look at some shortcuts for solving these. Solving Simultaneous Equations by Elimination Here is a new pair of linear simultaneous equations in two variables: 1. 3x + 2 y = 2 2. 2 x + 5 y = 16 We could solve this by substitution, but there is another way to eliminate variables, which is by adding multiples of the equations together. If we know that a = b, and that c = d, then we can add together linear sums of the equations and get a new equation such as 2 a + 3c = 2b + 3b . This process can be used with our simultaneous equations to eliminate a particular variable. If we multiply the first equation by 2, we get 3. 6 x + 4 y = 4 , and if we multiply the second one by 3 we get 4. 6 x + 15 y = 48 If we then subtract the first of these new equations from the second, we get an equation in y, which is 6 x + 15 y  6 x  4 y = 48  4 11 y = 44 y=4 We can then substitute this value back into Equation 1, getting 3x + 2 × 4 = 2 3x = 6 x = 2

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How did we choose which values to multiply the two equations by? It’s the same process as with finding a common denominator. If we want to eliminate the variable x, then we are essentially trying to put the two equations over the common denominator of the coefficients of x. In this case, the common denominator (or lcm, strictly speaking) of 3 and 2 is 6, and just as with the case of fractions, we multiply each equation by the common denominator divided by the coefficient of x in the equation. Here is another example, just to make it clearer: 1. 3x + 10 y = 2 2. 5x + 6 y = 14 This time, we’ll eliminate y first. The coefficients of y in the equations are 10 30 = 3, and 6 respectively. The lcm of 10 and 6 is 30, so we multiply Equation 1 by 10 30 and Equation 2 by 6 = 5 to get our new equations: 3. 9 x + 30 y = 6 4. 25x + 30 y = 70 Subtracting Equation 3 from Equation 4 gives us 25x  9 x = 70  6 16 x = 64 x=4 And substituting back in Equation 1 gives us 3 × 4 + 10 y = 2 12 + 10 y = 2 10 y = 10 y = 1 As always, check by substituting both values back into the second equation:

( )

5 × 4 + 6 × 1 = 20  6 = 14 This technique is actually very general, and you can use it to solve any system of linear simultaneous equations at all. Since we have been very theoretical for a while, let’s look at this process as an algorithm and write a function for it.

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Suppose you have n linear equations in n variables. We can write each equation as an n + 1-element array, so for example 2 x + 3 y = 3 would become [2,3,3]. The complete system of equations is then an array of n such arrays, which we’ll call simul. Now to solve the system of equations, we perform the following function (which will be explained fully in a moment). function solveSimultaneous(simul) set redux to an empty array set n to the number of elements of simul repeat for i=n down to 1 repeat for j=i down to 1 if simul[j][i] is not 0 then set row to simul[j] and quit this loop end if end repeat if no row found then return "no unique solution" divide row by row[i] append row to redux delete row from simul repeat for j=i-1 down to 1 if simul[j][i] is not 0 then subtract row*simul[j][i] from simul[j] end if end repeat end repeat set output to an array with n elements repeat for i=n down to 1 set sum to 0 repeat for j=i+1 to n add redux[i][j]*output[j] to sum end repeat set output[i] to redux[i][n+1]-sum end repeat return output end

The function solveSimultaneous() is much simpler than it looks. Essentially, it’s a formalized version of the process we followed before. The algorithm has two parts. First we go through the equations one by one, at each step picking an equation which has a non-zero coefficient in our next variable. So let’s say we are working in three variables x, y, z, and the current variable is x, then we might find an equation such as 2 x + 4 y + z = 8 . We divide this equation by the coefficient of x to give it a coefficient of 1: x + 2 y ++ z 2 = 4. We add this equation to our list of

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reduced equations, which we called redux. Then we subtract multiples of this equation from all the remaining equations to eliminate the variable x from each one. Suppose one of the equations is 3x  z = 5 , we subtract 3 times our equation from it in order to eliminate x, getting 6 y  5z 2 = 7 . Notice that while we have eliminated x in this equation, we have brought y into it again! However, at the end of this process, we have an equation in redux with a coefficient of 1 in x, and all the remaining equations in simul have a zero coefficient in x. If at any stage we can’t find an equation with a non-zero coefficient in the current variable, then we’re stuck: the n equations are not independent. In that case, there are two possibilities: either there is no solution to the equations, or there are an infinite number of such solutions. We won’t worry about these two cases, however. When we repeat this process for y and z, we end up with a set of equations in redux with the following properties: The ith equation has zero coefficients for the first (i – 1) variables The ith equation has a 1 coefficient for the ith variable The second stage of the process is to use this to solve the equations. We solve the equations by working backwards. Notice that the final equation is simple—it literally tells us the value of the last variable, something like z = 2 . So we can just write this number into our output. Now we look at the second-to-last equation, which will be something like y  2 z = 3 . But we know the value of z, so we can substitute it into the equation and quickly find y, which in this case is 7. We keep working backwards through the equations, and at each stage we can find the current unknown by substituting for all the later variables. We’ve spent quite a while on this topic because simultaneous equations come up a lot in physics, particularly the collision detection calculations we will be looking at later in the book. But now let’s move on to something a little more visual.

FUNCTIONS AND GRAPHS One useful way to visualize a function is in the form of a graph. In this section we will look at graphs and how they can be used. What Is a Graph? A graph is a way of representing data visually. The standard form of graph is the two-dimensional Cartesian graph, which displays all possible ordered pairs of two numbers in the form of a single point drawn on a flat sheet or Cartesian plane. To make a Cartesian plane, you need three things: an origin, which is a single point that

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you define as representing the point (0, 0), and two axes, (pronounced “ax-ease,” the plural of the word axis). An axis is a direction on the plane, and is drawn as a line through the origin, with an arrow to indicate the direction. Figure 3.1 shows an empty Cartesian plane.

y

O (0,0)

x

FIGURE 3.1 The Cartesian plane.

For the Cartesian plane to represent pairs of numbers, we need to assign each axis to one number in the pair. The horizontal axis represents the first number, and the vertical axis the second, and they are generally labeled as x and y and drawn at right-angles to one another (see Chapter 4). If we give each axis a scale, then any pair of numbers (a, b) can be represented by measuring a distance a in the direction of the first axis, and a distance b in the direction of the second axis (see Figure 3.2). This process is called plotting the point (a, b), and the values a and b are called coordinates. If the axes are x and y, then a is the x-coordinate, and b is the y-coordinate. We can also go through the opposite process, reading the value of a point P on the plane. If you draw a line through P, perpendicular to the x-axis, it has to meet the y-axis at some point Q. If you measure the distance from Q to P in the scale of the x-axis, this will give you the x-coordinate of P, and if you measure the distance from the origin (often abbreviated to O) to Q in the scale of the y-axis, this will give you the y-coordinate. (See Figure 3.3, where the point P has been marked—can you see that P is the point (2, 4)?)

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y 4 (-2,3)

(3,4)

3 2 1

-4

-3

-2

-1

x

0

1

2

3

4

-1

(-4,-1)

-2 -3 -4

FIGURE 3.2 The points (3, 4), (–2, 3) and (–4, –1) plotted on the Cartesian plane.

y P

4 3 2 1

-4

-3

-2

-1

0

x 1

2

3

4

-1 -2 -3 -4

FIGURE 3.3 Reading a point from a graph.

Plotting and Examining Functions on a Graph Graphs are most useful for representing functions. If you have a function f(x), then you can represent it on a graph by taking every possible value of x, finding the value of f(x), and plotting the point (x, f(x)). Generally, we plot the variable along the

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horizontal axis, and the output of the function on the vertical axis (called plotting f(x) against x). Alternatively, we can label the vertical axis with y and say that we are plotting the graph of y = f( x )—so if f( x ) = 2 x + 1 then we would be plotting the graph of y = 2 x + 1 . For our purposes, we’ll just talk here about functions in one variable, although it’s perfectly possible to make a graph of a function in more than one variable—you just can’t do it on a piece of paper! For example, to draw a function in two variables, you need a three-dimensional graph (a surface), and to draw a function in more variables than that, you need a graph with four or more dimensions, which exists only in the minds of mathematicians. We’ll return to functions in more than one variable in Chapter 6. It’s fairly straightforward to make the computer draw a graph—of course, the precise details depend on the mechanism for drawing within your language. Here is a function that will draw a graph on the basis of another function passed to it as a parameter, as well as a range of values for x. The resolution parameter is used to determine how accurately the graph is drawn: it represents the number of evenly spaced values of x to be plotted. It will also automatically scale the y-axis to fit the entire function into the graph, whose dimensions are passed in as the last two parameters—the version here always draws the graph to include both axes, although the version on the CD-ROM (in the script graphs) has additional possibilities, including drawing multiple graphs and labeling. Most programming languages draw downwards, representing 0 at the top of the screen and 1 below it. This is the opposite to the way we generally draw graphs. In this function, these details are ignored, it simply says to plot the point or draw the line, but be aware of the issue if implementing the function yourself. Again, the version on the CD-ROM is set to take this into account. function drawGraph (functionToDraw, minX, maxX, resolution, width, height) // calculate values of the function set xValues to an empty array set yValues to an empty array set spacing to (maxX—minX) / (resolution - 1) // spacing is the distance between consecutive x values repeat for i = 0 to (resolution—1) set x to minX + i * spacing set y to calculateValue(functionToDraw(x)) // how this is done depends on how you want to represent // the function. In the version on the CD-ROM, you can

Algebra

// pass either a string such as "x*x + 2*x + 3" or the // name of any function defined somewhere. The latter is // more flexible as it allows you to deal with special // cases such as "undefined" (see later in the function) append x to xValues append y to yValues end repeat // calculate the scale of the graph set leftX to min(minX, 0) set rightX to max(maxX, 0) // leftX and rightX are the x-values at each end of the // x-axis to be drawn set xScale to width / (rightX - leftX) set topY to max(largest(yValues), 0) set bottomY to min(smallest(yValues) , 0) // largest() and smallest() should return the largest and // smallest values in the array respectively set yScale to height / (topY—bottomY) // draw axes set x0 to xScale * (-leftX) set y0 to yScale * (-bottomY) // x0 and y0 are the positions within the graph of the axes draw a line from the point (x0, 0) to the point (x0, height) // this is the y-axis--you should also add arrows, // a scale and labels here draw a line from the point (0, y0) to the point (width, y0) // this is the x-axis // draw the function set currentPoint to 0 repeat for i = 1 to the number of elements in xValues set x to xValues[i] set y to yValues[i] if y = "undefined" then set currentPoint to 0 otherwise set thisPoint to ((x—leftX)* xScale, (y-ybottom) * yScale) if currentPoint = 0 then plot the point thisPoint otherwise draw a line from currentPoint to thisPoint end if

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set currentPoint to thisPoint end if end repeat end

In Figure 3.4 you can see some example graphs drawn with this function (or the slightly more complex one on the CD-ROM, which includes labels and scales).

FIGURE 3.4 Graphs of the functions y  15, y  2x  1, y  4x2  16 and y = 1 . x

1. The horizontal line represents the equation y = 15. This equation is based on the constant function f( x ) = 15, which returns 15, whatever the value of x. You can also draw a vertical line with the equation x = c —for example, the y-axis is drawn along the line x = 0 . 2. The diagonal straight line represents the equation y = 2 x + 1, and now you can see why a function with only a constant term and a term in x is called “linear.” All such functions will appear as a straight line graph. 3. The curve, which looks like a big U-shape is called a parabola, and represents the equation y  4x2  16. All quadratic functions produce a similar shape (if the term in x 2 is negative then the curve is the other way up).

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3. Parabolas have rather more information to be found. First, as mentioned above, they can either curve round as a bowl, as here, or as a mountain. This gives you the sign of the term in x 2 —a bowl has a positive coefficient of x 2, a mountain has a negative coefficient. Second, by observing the points at which the parabola intersects the x-axis, you can determine the roots of the function (recall that a root of a function f(x) is a value a such that f(a) is zero). In this case, note that the curve crosses the x-axis at +2 and –2, which means that the roots of the function are +2 and –2. This means that ( x + 2) and ( x  2) are factors of the function. If the parabola only just touches the x-axis, then you would have a function with just one root, which means a square quadratic, and if it doesn’t cross the x-axis at all, then it has no real roots and cannot be factorized. Third, as with the straight line, you can determine the constant term of the function from the point at which it crosses the y-axis. Finally, you can find the maximum or minimum value of the function from the curve, by finding the point at which the parabola turns back on itself and reading the y-value at that point. 4. Graphs like y = 1 x are harder to characterize or read information from in the same way. Still, you can read off the values of the asymptotes directly. Be careful—many functions that seem to have asymptotes are actually just changing very slowly, for example the graph in Figure 3.5, of y = log e ( x ) . The logarithm function does not have a maximum value, although it may seem like it from the graph.

FIGURE 3.5 The graph of y = log e ( x ) .

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Parametric Curves and Functions Although simple functions are the most common things to draw on a graph, not all curves can be described in terms of a standard function. The graphs we’ve seen have all been of single-valued functions, but we can’t draw, for example, a circle using this technique because a circle does not have a distinct value of y for each x-coordinate: in terms of functions, a circle is multivalued. One way to avoid this problem is to use a parameterization: instead of using a single function f(x) and plotting y = f(x), we can use two functions x(t) and y(t), and plot the points (x(t), y(t)) for each value of t (t is just a dummy variable here, although because parametric functions are often used to represent motion, t frequently represents time). For example, suppose our two functions are given by the formulas x = at 2 and y = 2 at . If we plot a graph of the points (x, y) given by allowing t to vary across the real numbers, we get the graph shown in Figure 3.6, which is a parabola lying on its side. In fact, it’s the parabola y 2 = 4 ax , as you can find by substituting for t in the parametric formula.

y t=1 t=0 x

a

t = -1

FIGURE 3.6 The parabola formed from the parametric formula x = at 2 , y = 2at .

This curve is one which we couldn’t draw using our previous graph-drawing function, because it’s multivalued in the y coordinate. As we’ll see in some later chapters, parametric formulas allow us to draw far more complex curves than simple functions, including the Bezier curves and splines seen in vector drawing and 3D modeling packages.

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EXERCISES Exercise 3.1 Write a function substitute (functionString, x) that will substitute a value for x into a function given in standard notation. The function should take two arguments, a string such as "5x^2+3(4-2x)" and a value such as 5, and should return the result of substituting the second argument for the variable x in the string (107 in this example). Use the ^ character as above to represent powers, and the / and * characters to represent division and multiplication. Try to make the function as general as possible, particularly dealing with parentheses—here are a few test functions you could try it out on: "5x+3"; "4-2(x-5)"; "(x^3-4)/2"; "(x-4)(2-3x)"; "2^((x-4)/(x-5))"

Exercise 3.2 Write a function simplify (functionString), which simplifies a given function as far as it can. Simplification is a task requiring intelligence and you won’t be able to make the function work as well as a human would, but you should be able to make some headway. Your program should be able to take a function, group like terms together, put fractions over a common denominator, and if you are very ambitious, factorize the result. You could work just with the variable x, or allow multiple variables. Exercise 3.3 Write a function solve (equationString) which solves a given equation. As before, this will not be infallible, but it should be able to deal with linear or quadratic equations. Use your previous function simplify to help you.

SUMMARY In the course of this extremely long chapter we have covered several years’ worth of basic algebra, which necessarily means we have missed out many details and lots of practice time. On the other hand, applying programming techniques to the concepts will have given you a good head-start in understanding them.

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Despite the elementary level of the topics covered, the methods and concepts involved have been presented in quite an advanced way. The key focus to our discussion has been keeping the idea of the function at the forefront, its rightful place. As long as you really, truly, understand what a function is, the rest of algebra should fall neatly into place. In the next chapter we will slow down a little, but only a little, and begin looking at the topics that are directly relevant to programming, which start with the basics of geometry.

YOU SHOULD NOW KNOW the meanings of the terms variable, parameter, constant, and unknown; how they are related and how they are different the meaning of the word function, the idea of a function as a map between different sets, and the concepts of one-to-one, many-to-one, and multivalued functions what an equation is and how to solve one for a particular unknown in simple cases, including quadratics, cubics, and simultaneous equations in two or more unknowns how to simplify and factorize functions, and use these skills to help with solving equations how to draw a graph of a function, and how to use it to read off information about the function how to draw a parametric curve

4

Trigonometry and Pythagoras

In This Chapter Overview Angles Triangles Calculations with Triangles Rotations and Reflections Exercises Summary You Should Now Know

OVERVIEW Geometry is the study of shapes and space, and particularly of symmetry. We shall be looking mostly at the practical side of the subject, however, beginning with the measurement of angles and triangles, which is called trigonometry. When programming anything involving movement, such as games, you will be using trigonometry constantly, so it is vital that you have a thorough understanding of how it works. Code samples from this chapter are implemented in math.cst in the script 2D vectors and trigonometry.

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ANGLES An angle is a way of measuring a direction. If two people set off from the same point, after they have both traveled ten meters, they could be anything from zero meters apart (if they set off in the same direction) to twenty meters apart (if they set off in opposite directions). An angle is a measurement of how different the two directions are. In the following section we will look at angles and what they mean. Angles and Degrees The most common way of measuring an angle is to consider all the possible directions as radii of a circle. We can then consider the angle between any two radii as a fraction of the circle. For example, in Figure 4.1, the clockwise angle between the lines A and B is a quarter of the circle, and the clockwise angle between the lines B and C is a third of the circle. (What is the clockwise angle between C and A?) A radius of a circle is a line from its center to its perimeter (or circumference); radii is the plural. A straight line drawn between two points on the circumference which passes through the center is called a diameter of the circle. We will look more at circles in Chapter 8.

A B C FIGURE 4.1 A circle with various radii marked.

Notice that the phrase “the angle between two lines” is potentially ambiguous, since we can measure the angle in either direction. The counterclockwise angle between A and B, for example, is three quarters of the circle. Generally, when we talk of the angle between two lines, we mean the smallest such angle, and this is the terminology we will use here unless otherwise indicated (later in the book we’ll be more interested in measuring the angle in a particular direction).

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Angles can be measured in various different units, but the most common is the degree. When measuring in degrees, we divide a full circle into 360 equal parts, each of which we call one degree, written 1° . There is nothing special about 360, except that as noted in Chapter 1, it happens to have a large number of divisors, which means that many common fractions of a circle have an integer number of degrees: a quarter-turn is 90° (called a right angle), a half-turn is 180° (a straight line), one third is 120°, a sixth is 60°, a fifth is 72° and so on. Figure 4.2 shows some of these angles.

90° 45°

60° 72°

30° 48° 15° FIGURE 4.2 Some common angles measured in degrees. Measured angles are denoted by a small arc between the lines, and right angles by squares.

Of these values, probably the most important is the right angle. A square has four equal sides, and the angle between each pair of adjacent sides is a right angle. If you draw in the diagonals of the square, they also meet at right angles (two straight lines which meet at right angles are called perpendicular). Four right angles (denoted in diagrams by a square drawn inside the angle, as in Figure 4.2) divide the circle into four equal quadrants. If the circle is drawn on a graph, as in Figure 4.3, the quadrants can be seen to be in a sense complimentary: for every point (x, y) inside the circle, there are corresponding points (x, –y), (–x, y) and (–x, –y) which are also inside the circle, each in a different one of the four quadrants (except when x or y are zero, of course). An angle smaller than a right angle is called acute, an angle larger than a right angle (but smaller than two right angles) is called obtuse, while an angle greater than half a circle is called a reflex angle.

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(-x,y)

(x,y)

(-x,-y) (x,-y) FIGURE 4.3 The quadrants of a graph.

Area and the Number U If we draw a square around a circle and pick a point at random within it, what is the likelihood that this point lies inside the circle? This question is one way of explaining the concept of the area of a shape. If we have two squares, one of which has twice as long sides as the other, and we place them side by side on a table, then repeatedly mark random dots on the table with a pen, four times as many dots will land on the large square as land on the smaller. This makes sense, as you can fit four of the small squares in the larger one. If a square has sides x units long, then the area of the square is x 2 square units or units 2 (hence the term squared). When x = 1, the shape is called a unit square. We can calculate the area of any rectangle easily. A rectangle is a shape which, like a square, has four sides, with each pair of adjacent sides at right angles. Unlike a square, its four sides need not be equal, although each pair of opposite sides must be (which means a square is a special kind of rectangle). The area of a rectangle is the product of the lengths of the pairs of sides: the area of the rectangle in Figure 4.4 is 12 square units: 12 unit squares will fit inside it.

FIGURE 4.4 A 3  4 rectangle.

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U 1 1 1 = 1  +  + ... 4 3 5 7 One of the earliest uses of computers on a vast scale was in calculating the digits of U to an enormous precision, using a formula such as the above, although not this one, as it takes rather a lot of terms of the series to get anywhere near to a precise value. Today the digits of U are known to over a trillion decimal places. This is testimony both to the importance of the number and the obsessive nature of computer programmers. Knowing the formula for the area of the circle, we can answer our original question. A square drawn around a circle has a side equal to the diameter of the circle. If the circle has a radius of 1 unit, then the square has a side of 2 units and so

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TRIANGLES The triangle is the main unit of geometry. A triangle is a figure made up of three non-collinear (not lying on a straight line) points called vertices (the singular is vertex), joined by three straight line segments. In this section, we will look at triangles and their geometry, an area of mathematics called trigonometry. The Types of Triangle Triangles can be classified into four main types determined by the three angles inside them. We normally label a triangle as in Figure 4.5, using capital letters to label vertices, lower-case letters to label side lengths (with each side labeled to correspond to the opposing vertex), and angles labeled either by Greek letters as in the figure, or with a designation such as ABC , listing three points which define the

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83

angle. Informally, you may also see the angles denoted simply by the letter of the vertex: angles A, B, C.

A α

b

C

c β

γ

a

B

FIGURE 4.5 A triangle with its vertices, sides, and angles labeled.

If you are unfamiliar with the Greek alphabet, it is presented in Appendix A. If we draw the same triangle three times as in Figure 4.6, you can see that the angles F, G, L lie on a straight line, which means that the sum of these angles must be half a circle, or 180°. This is true for any triangle.

α β γ

β α γ

γ α β

FIGURE 4.6 The angles in a triangle sum to 180°.

In Figure 4.7, you can see the three kinds of triangle. 1. The simplest triangle is the equilateral triangle, which has three equal sides, and also three equal angles, which must therefore each be equal to 60°. 2. An isosceles triangle has two equal sides. If sides a and b are equal, then angles F and G are also equal. 3. A scalene triangle is any other triangle: no equal sides, no equal angles.

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FIGURE 4.7 Equilateral, isosceles, and scalene triangles.

One particularly important kind of triangle is also singled out, which is the right-angled triangle, which is to say, one which has a right angle within it. A rightangled triangle has two legs, which are the sides either side of the right angle, and one hypotenuse, which is the side opposite the right angle. The two smaller angles must necessarily sum to 90°, of course. All these pieces of information are to be found in Figure 4.8.

A b

C

α

α+β=90°

h β a

B

FIGURE 4.8 A right-angled triangle.

One final classification is into acute and obtuse triangles. An obtuse triangle has one angle greater than 90°, an acute triangle doesn’t. Pythagoras’ Theorem Let’s take a closer look at right-angled triangles. There are several reasons why these are important. The first is that they are easy to recognize and crop up in many natural circumstances. For example, when working on a graph, it is often useful to draw the line joining two points and create a right-angled triangle with sides parallel to the x- and y-axes (see Figure 4.9). We implicitly did this when measuring the gradient of a straight line in the previous chapter. Secondly, right-angled triangles have a number of useful properties which we will be looking at in this and subsequent sections. And thirdly, any triangle can be easily split into two right-angled triangles by dropping a perpendicular from one vertex to the opposing side (see Figure 4.10).

Trigonometry and Pythagoras

85

A

(x,y) y x

B

C

FIGURE 4.10 A triangle split into two right-angled triangles by dropping a perpendicular from vertex A.

FIGURE 4.9 A right-angled triangle drawn on a graph.

In the case of an obtuse triangle, one of the two right-angled triangles may be a kind of negative triangle, but this is a slightly abstract notion which we won’t worry about for now. Right-angled triangles were studied extensively by the ancient Greek mathematician Pythagoras, who gave his name to an important theorem linking the lengths of the three sides. Pythagoras’ Theorem states that for a right-angled triangle ABC with the right-angle at vertex C (the usual notation), a 2 + b2 = c 2 . There are many ways to prove this fact, but the neatest can be seen in Figure 4.11.

a

b a b

a b

c

c c a

b

a c b

a

c c

b a

a b

b

FIGURE 4.11 A geometrical proof of Pythagoras’ Theorem.

In the first diagram, we have drawn a square with side a + b. Around the outside are arranged four equal right-angled triangles with legs a and b. The hypotenuses of the triangles, with length c, form a smaller square inside the larger, whose area is c 2 . In the second diagram, we have an identical square, again with side a + b. This time, the four right-angled triangles have been rearranged to fit inside the square as two rectangles meeting at a corner. Each rectangle has sides a and

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b, and the remainder of the square is subdivided into two smaller squares, one of which has side a, the other having side b. The total area of these two squares is a 2 + b2 . But as these the two large squares and the eight right-angled triangles within them are all the same, the area of the two small squares in the second diagram must be equal to the area of the small square in the first, which gives us a 2 + b2 = c 2 as required. There are an infinite number of right-angled triangles whose sides are all integer lengths. The smallest is the triangle with legs 3 and 4, which has hypotenuse 5. There are a number of ways of generating such triangles, and the sets of three numbers making the sides are called Pythagorean triples. There are no sets of integers for which the same is true in any higher power—there are no sets of positive integers a, b, c, n, with n > 2, such that an  bn  c n. This fact is called Fermat’s Last Theorem and was a famous unsolved problem until very recently. Using Pythagoras’ Theorem, we can quickly determine the third side of any right-angled triangle given the other two sides. For example, if we know that the hypotenuse of a triangle is 13 cm, and one side is 5 cm, then by Pythagoras, the third side’s length must be equal to 132  52 = 144 = 12 cm . A right-angled isosceles triangle with sides of unit length (half a square) has a hypotenuse 2 = 1.414... units long. Similarly, if you take an equilateral triangle with sides of length 2 and cut it in half, the length of the perpendicular is 3 units. See Figure 4.12. Note that the isosceles triangle has interior angles of 45°, and the half-equilateral triangle has angles of 60° and 30°.

1 45°

2

1

60°

2 30°

45°

1 FIGURE 4.12 triangles.

3 Two important right-angled

The Trigonometric Functions We looked earlier at the concept of a gradient and we saw in Figure 4.9 how this can be represented by drawing a right-angled triangle on a graph. For any right-angled triangle with leg a parallel to the y-axis and leg b parallel to the x-axis, the gradient

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87

of the hypotenuse is equal to a b . It is useful to be able to relate this value to the size of the angles at A and B, and we do this by using the function tan() (short for “tangent”). If the angle at A is x, then tan(x) gives the gradient of the line AB. Two other functions, sin(x) (short for “sine”) and cos(x) (“cosine”) are equal to the ratios a c and b c respectively. These three functions are known as the trigonometric functions. Notice that tan(x)=sin(x)/cos(x). The trigonometric functions are dependent on the units of measurement of the angles: generally, computer languages assume units of radians, but we will assume degrees in this section for clarity. If you are working in degrees, it is vital to convert your angle measurements to radians (multiply them by U 180 ) before applying the trigonometric functions. By inspecting the triangles in Figure 4.12, we can see that sin(45) must be equal to 1/sqrt(2), that sin(30) is equal to 0.5, and that sin(60) is sqrt(3)/2. Calculate the values of cos and tan for these angles yourself. If we measure the values of these functions for various right-angled triangles and plot them on a graph, the result is rather interesting, and can be seen in Figure 4.13. On the first diagram can be seen the graphs of y = sin(x) and y = cos(x) for x = 0° to 360°. Notice that we can measure the lengths of the sides in both directions, as we did when measuring gradients. Both these graphs are the same shape, a continuous wave called a sine wave, with the wave for cos(x) lagging a little behind the one for sin(x) (we say the two waves are 90° out of phase). On the second diagram is the graph of y = tan(x), which has a different shape, with asymptotes every 180°.

FIGURE 4.13 The graphs of sin(x), cos(x) and tan(x).

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The functions sin() and cos() are closely related to circular motion, as we shall see in Chapter 16, and it turns out that they are also surprisingly similar to the exp() function. They can be calculated (in radians) by using the following infinite series:

()

x3 x5 +  ... 3! 5!

()

x2 x4 +  ... 2! 4!

sin x = x  cos x = 1 

Notice that when x is small, sin(x) is very nearly equal to x. Notice also that and cos(0)=1. There are also a number of formulas (the trigonometric identities) involving the trigonometric functions which may prove useful here and there. We will state these here without proof, but you might like to think about how you could prove them, although we will prove the first one a little later. For any value of x and y: sin(0)=0

()

() () sin ( x + y ) = sin ( x ) cos ( y ) + cos ( x ) sin ( y ) cos ( x + y ) = cos ( x ) cos ( y )  sin ( x ) sin ( y ) tan ( x ) + tan ( y ) tan ( x + y ) = 1  tan ( x ) tan ( y ) sin ( 2 x ) = 2 sin ( x ) cos ( x ) cos ( 2 x ) = cos ( x )  sin ( x ) 2 tan ( x ) tan ( 2 x ) = 1  tan ( x )

( ( ))

sin 2 x + cos 2 x = 1. Here sin 2 x is a shorthand for sin x

2

2

2

2

The Inverse Trigonometric Functions Just as important as calculating gradients from angles is to go the other way and calculate an angle from a gradient. Each of the three trigonometric functions has an inverse function that maps from the domain [–1,1] (for sin and cos) or [h, h] (for tan) to the range [0,360] This is to say, the function takes a number and maps it to an angle. Strictly speaking, these functions are multivalued, but for each of the functions there is a standard mapping:

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89

The inverse of the sin() function is the arcsin() function, also written as sin–1() or asin(). This maps positive values between 0 and 1 to values between 0 and 90°, and negative values greater than or equal to –1 to values between 90° and 180°. For all values of x, arcsin(-x)=180-arcsin(x). The inverse of the cos() function is the arccos(), acos() or cos–1() function. This maps values in [0,1] to the range [0,90°] and values in [–1,0] to the range [–90°,0]. For all values of x, arccos(-x)=-arccos(x). The inverse of the tan() function is the arctan(), atan() or tan–1() function. This maps values in [0, h] to the range [0,90°), and negative values in [h, 0] to the range (–90°,0]. For all values of x, arctan(-x)=-arctan(x). The notation [a, b] indicates the closed interval from a to b, which is the set of real numbers between a and b inclusive, and the notation (a, b) in this context means the open interval, the set of real numbers between a and b, not including the numbers a and b themselves. Similarly, [a, b) means the set of numbers greater than or equal to a and less than b. Although all three functions are useful, because of Pythagoras’ Theorem you don’t actually need them all and you can manage with just arctan(). If you look at Figure 4.14 you should be able to see that © 1  x2 ¹ cos 1 x = tan 1 ª º ª« x º»

()

© x ¹ sin 1 x = tan 1 ª º « 1  x2 »

()

1+x2

x

tan-1(x)

1 FIGURE 4.14 Calculating arcsin() and arccos() in terms of arctan().

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Mathematics and Physics for Programmers

Because the arctan() function maps infinite quantities to finite ones, it has the unusual ability to cope with fractions with a denominator of zero. Because we can’t use these in programming, it can save time to create a special version of arctan() with two arguments instead of one, representing the two legs of a right-angled triangle, one of which may be zero. This function, available natively in many programming languages, is: function atan (y, x) set deg=1 if x=0 and y=0 then deg=-90 if y=0 and x=0 then deg=-180 if deg=1 then return arctan(y/x) otherwise return deg*pi/180 end function

CALCULATIONS WITH TRIANGLES With the help of the trigonometric functions and Pythagoras’ Theorem, we can solve many problems with both triangles and more complex figures. In this section we will see how to do this mathematically and computationally. The Sine and Cosine Rules The most common triangle problem is to solve the triangle: given an arbitrary triangle ABC and some information about its angles and sides, to deduce all the other facts about the triangle, which is to say, all the values a, b, c, F, G, L. In general, you need three of these values to solve a triangle, although not all combinations of three will do it. You can solve the triangle given any of the following: The lengths of the three sides Any two angles and one side Any two sides and the angle between them In a right-angled triangle, the length of any two sides Except for a right-angled triangle, you cannot solve a triangle given two sides and a non-included angle, because there may be two possible triangles as in Figure 4.15. You also cannot solve a triangle knowing only the three angles, because there are an infinite number of triangles with the same three angles, as we will see in the next section.

Trigonometry and Pythagoras

b

91

a

a

α FIGURE 4.15 Two different triangles sharing the same values for a, b and F.

The two most powerful methods for solving triangles are called the sine rule and the cosine rule. The sine rule relates angles to the lengths of their opposite sides, the cosine rule relates one angle to the lengths of the three sides. The sine rule is particularly neat, and says that for any triangle: a b c = = sin F sin G sin L

( )

( )

( )

To see why, look at the triangle in Figure 4.16. We have dropped a perpendicular from vertex B which meets the line AC at the point P, and we say that it has length l. Then we know that

( ) sin (L ) =

1. sin F = l 2.

l

c a

B c

A

a

l

γ

α

C

P

FIGURE 4.16 Proving the sine and cosine rules.

If we rearrange Equation 2 and substitute the value for l into Equation 1, we get

( )

© a sin L ¹ sin F = ª º c » «

( )

a c = sin F sin L

( )

( )

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Mathematics and Physics for Programmers

A symmetrical argument applies to b and G. The cosine rule is a little more complicated, but easy to remember because it is an extension of Pythagoras’ Theorem:

( )

a 2 = b2 + c 2  2bc cos F

Proving this is a little more involved, but again we can use the triangle from Figure 4.16. We’ve denoted the line PC as k units long, making the line AP b – k units (since the whole line is b units). Now we can see from Pythagoras that a 2 = l 2 + k 2 (using the triangle BCP) 2 l 2 = c 2  b  k (using the triangle ABP) so eliminating l, we have

(

)

(

a2 = c2 + k 2  b  k

)

2

= c 2 + k 2  b2 + 2bk  k 2 = c 2  b2 + 2bk We can now eliminate k by using the angle F, since

( )

cos F = b  k

c (from triangle ABP) so k = b  c cos F and therefore substituting this value for k we get

( )

(

( ))

a 2 = c 2  b2 + 2b b  c cos F

Using combinations of these two rules, along with Pythagoras’ Theorem and the fact that angles in a triangle sum to 180°, we can solve any solvable triangle (see Exercise 4.1). Similar Triangles As we saw in the previous section, it is possible to have two triangles with the same three angles but sides of different lengths. Two triangles with the same angles (not necessarily in the same order around the triangle) are called similar. Of course, since the sum of angles in a triangle is constant, you only need to show that two angles are the same to know the triangles are similar. The principal fact about similar triangles is that their sides are in the same proportion. As with the rectangles we looked at in Chapter 2, they are essentially the same triangle, just drawn to a different scale. This means that if we know two triangles are similar then we can use the lengths of a side in one (or indeed any other linear measurement) to deduce the same measure in the other.

Trigonometry and Pythagoras

93

In Figure 4.17, you can see a way to measure the height of a building on a sunny day. Place a stick 1m long vertically in the ground and measure the length of its shadow, and also measure the length of the shadow of the building. The triangle formed by the tip of the stick T, the base of the stick S and the end of its shadow U is similar to the triangle formed by the top of the building B, the base of the building A and the end of its shadow C. The angles at S and A are both right-angles, and the angles at U and C are both equal to the angle formed by the sun and the ground. Of course, to get exactly the same angle of the sun you need to align the stick so that U and C are in the same place, but the principle is the same.

B

T

A

C

S

U

FIGURE 4.17 Using similar triangles to measure the height of a building.

When describing two triangles as similar, you should notate them with the vertices in corresponding order – so if triangles ABC and PQR are similar, this means the angles at A and P, B and Q, and C and R are the same respectively. Because the triangles are similar, this means that their sides are in the same proportion. This means that the ratio of the height of the building AB to the height of the stick ST is equal to the ratio of the length of the building’s shadow AC to the length of the stick’s shadow SU. That is to say, in the notation of Figure 4.17: c b = u t

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So we can calculate c from the values of the other three lengths, all of which we can measure on the ground. The notation AB for the length of the line from A to B is useful because it means we need fewer symbols in complicated problems. Notice that in this notation the letters A and B are in normal  typeface: when they are written in bold or with an arrow above them as in AB , this is not a length but a vector, which we will see in the next chapter. If two triangles have sides of the same lengths and not just angles, then they are said to be congruent, which essentially means that they are exactly the same (or at most mirror-images of one another). Congruence is useful in the area of geometrical proofs but not particularly in programming. The Area of a Triangle There are various ways to measure the area of a triangle depending on which measurements you know. We can use the triangle in Figure 4.16 again to derive one method. We take a triangle ABC and drop a perpendicular (of length l) from the vertex A to the point P on the opposite side BC, dividing the triangle into two right-angled triangles. Then we draw congruent right-angled triangles alongside each of these to create two adjacent rectangles, each of which is twice the area of the corresponding right-angled triangle. The total area of this rectangle is la, and you can see that this is twice the area of the triangle ABC, so we say that the area of a triangle is 1 2 base × height . We can also find the area knowing other measurements. For example, if you look at the triangle ACP, you can see that l = b sin L , so we can substitute this value into the above formula to get the area as 1 2 absin L .

( )

( )

ROTATIONS AND REFLECTIONS A common use for the trigonometric functions in programming is when working with objects that need to rotate. We will conclude this chapter by looking at the relationship of the trigonometric functions to rotation. Transformations An object drawn on the computer screen could be described in terms of the positions of its vertices. For example, triangle T in Figure 4.18 has vertices at (100,150), (125,125) and (150,130). Notice that as this is a figure on a screen, the y-axis is measured downward, rather than upward as on a graph. There are a number of different ways we can move this triangle to a new position, which are called transformations.

Trigonometry and Pythagoras

T3

95

T4 A

T

T2

T5 T1

P

FIGURE 4.18 A triangle and various transformations of it.

If we move the figure to a new position without rotating it (as with triangle T1 ), this is called a translation. A translation is described by a vector, which we will look at properly in the next chapter. For the moment, just think of it as a value describing how far we are moving the figure in the x and y directions. If we turn the figure around by an angle (triangle T2 ), this is called a rotation. A rotation is described by a single point (the center of rotation, or just center) and an angle (the angle of rotation, generally measured clockwise on a graph or anticlockwise on a computer). We say that triangle T2 is the result of “rotating triangle T by 45° about the point P.” If we flip the figure over (triangle T3 ), this is a reflection. A reflection is defined by a single line (the axis of reflection)—we say, for example, that triangle T3 is the result of “reflecting triangle T in the axis A (the line y = x).” If we change the size of the figure (triangle T4 ), this is a scale. Scaling an object can be defined by a single point (the origin—not to be confused with the origin of the graph) and a number representing the proportion of the size of the new figure to the old one, called the scale factor. So T4 is the result of “scaling T by a factor of 1.5 from the point P.” You can also perform more complex scales by scaling different amounts in particular directions, but we’ll ignore that for now. If we skew the figure, as if we were to take hold of one point and shift it across relative to the others (Triangle T5 ), this is called a shear. Shears are defined in terms of a single line (the line of invariance) and a number representing the amount of shearing (the shear factor). Each of these transformations can be calculated numerically by performing various operations on the vertices of the object. Many of these calculations involve the trigonometric functions we looked at above.

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Rotating an Object by an Angle In Figure 4.19 we have another triangle T (ABC), which is to be rotated by an angle F around the origin O to make a new triangle T' (A'B'C'). As before, we are measuring y downwards. In the diagram we have drawn the lines from the origin to the points A = (x,y) and A' = (x',y'). We have also drawn in the lines from A and A' to the x- and y-axes, and the points X, X', Y and Y' where these lines meet the axes. Notice that the lines OX and OY have length x and y respectively, and similarly for OX' and OY'. Notice also that the lengths of OA and OA' are both the same (this is a defining feature of a rotation).

C

T Y

A=(x,y) θ

O

B

X' α−θ

X

C'

Y' A'=(x',y')

T' B'

FIGURE 4.19 Rotating around the origin.

What can we deduce from all this information? Well, first we know that since OA = OA', by Pythagoras’ Theorem we can say that OA' = x 2 + y 2 . Second, we can calculate the value of the angle between OA and the x-axis (called V in the diagram) as atan(y, x). Because the angle of rotation is F, we know that the angle V ', between OA' and the x-axis, is equal to F  V = F-atan(y, x). So this means we can calculate the value of x' and y':

( ) (x

x ' = OA' × cos V ' =

2

) (

( ))

+ y 2 cos F  atan y , x

Trigonometry and Pythagoras

( ) (x

y ' = OA' × sin V ' =

2

) (

97

( ))

+ y 2 sin F  atan y , x

Doing this for each of the vertices of the triangle will rotate the whole triangle about the origin. You need to be careful about the signs of x and y here. It is best to use the twoargument implementation of atan() in functions like these as it ensures that the correct value of the angle is returned. What if we wanted to rotate the object around some other point than the origin? In that case, we can do a small trick. First, we translate the object so that the center of rotation lies on the origin. Then we rotate it, and then we translate it back. This kind of thinking is based on the idea of a vector, which as we said will be covered in the next chapter, but it should be clear enough from the description. To rotate a point (x,y) by an angle F around the point P = (s,t): first we translate it by subtracting (s,t) from each point. Then we rotate by F around the origin. Finally we add (s,t) to the resultant points again. This gives a complicated formula for the values of x' and y': x' =

(( x  s) + ( y  t ) ) cos(F  atan (( y  t ),( x  s))) + s

y' =

(( x  s) + ( y  t ) ) sin(F  atan (( y  t ),( x  s))) + t

2

2

2

2

You can see the relationship of these formulas to those we saw before: Each one is a result of replacing x and y with x – s and y – t, respectively, then adding s or t as appropriate. Combining transformations in this way can be a very powerful tool which we will see much more of in later chapters. As a quick aside, what we often want to do is to rotate an object around its own center, often called the center of gravity or center of mass, although these terms are strictly speaking more suitable for a three-dimensional object. For a triangle, this point is called the centrum, and is to be found at the intersection of the three lines joining the vertices to the midpoints of the opposite sides (Figure 4.20). Finding the centrum is straightforward: it is the mean of the three vertices. So if the vertices are at x1 , y1 , x2 , y2 and x3 , y3 , the centrum is at the point 1 ( x + x + x , y + y + y ) . You will use this fact in Exercise 4.2. 3 1 2 3 1 2 3

(

) (

)

(

)

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Mathematics and Physics for Programmers

The mean (or strictly speaking, the arithmetic mean) of a number of values a1, a2,..., an is the sum of the values divided by the number of values: ( a + a + ... + a ) . This may be written using the notation 1 ¨ a , where the capital n

1

2

n

n

n

i =1

i

Greek letter sigma (8) denotes a sum of values over the index i. The mean is the value colloquially called the average, but mathematicians use the word average to denote a number of different functions including, as well as the arithmetic mean, the geometric mean, harmonic mean, median, and mode, each of which is useful in different circumstances.

FIGURE 4.20

The centrum of a triangle.

Quick Rotations by Special Angles While it is obviously useful to be able to rotate an object about any axis, it is also handy to know a few short cuts. Rotating by certain common angles is much simpler. To rotate the point (x,y) by 180° about the origin, simply multiply both coordinates by -1, getting (–x,–y). To rotate (x,y) by 90° about the origin, switch the coordinates around to get (y,–x). To rotate (x,y) by –90° about the origin, switch the coordinates the other way to get (–y,x). You should by now be able to derive these results from earlier equations. Reflections As we saw above, a reflection can be specified completely by giving a single line on the plane, which is called the axis of reflection. The image of a point P reflected in a particular axis A is the point P' such that AP = AP' and such that the line PP' is perpendicular to A (see Figure 4.21).

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Trigonometry and Pythagoras

A P' Q P

FIGURE 4.21 The image of the point P under reflection in the axis A.

Although we can calculate the position of P' from this information, it is hard to do so without vectors. However, we can also use rotations and translations to reduce this to a simpler problem. Reflecting in the x- or y-axis is very simple: the point (x,y) reflected in the x-axis gives the point (x,–y), and in the y-axis gives (–x,y). Therefore, to reflect P = (x,y) in an axis with the equation y = mx + c, we can do the following (Figure 4.22):

(

) (

1. Translate P by -c units in the y direction to get P1 = x , y  c = x1 , y1

(

)

2. Rotate P1 by atan(m) about the origin to get P2 = l cos(atan( m)  2 atan( y1 , x1 ), l sin(atan( m)  ataan( y1 , x1 ) where l = ( x12 + y12 ) = x 2 + ( y  c ) is the length of the line OP'

)

(

) (

3. Reflect P2 in the x-axis to get P2 = x2 ,  y2 = x3 , y3

)

(

)

(

4. Rotate P3 by –atan(m) about the origin to get P4 = l cos(  atan( m)  atan( y3 , x3 )), l sin(  atan( m)  atan( y3 , x3 ))

)

(

) (

5. Translate P4 by c units in the y direction to get P' = x4 , y4 + c = x ', y ' P4

A

P' P1 P

P3 P2

FIGURE 4.22 A series of transformations to find P'.

)

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These steps can, of course, be simplified, and by using the trigonometric identities they can be subsumed into a single formula, but it isn’t worth going into here— besides, the whole thing gets easier once we start using vectors and matrices. If you want some practice in trigonometric algebra, try simplifying the process yourself.

sin(), cos(), and Circular Motion The trigonometric functions are not just mathematical abstractions introduced to make calculations easier. They represent a very real and commonplace phenomenon. Imagine that you have a point P at a distance of 1 unit from the origin (see Figure 4.23). As you can see immediately from the definition of sin() and cos(), the coordinates of P must be (cos(a),sin(a)), where a is the angle the line OP makes with the x-axis. If you plot all such points P, you make a circle around the origin. Notice that since the length of the line OP is 1, this proves the identity we saw earlier, which said that sin 2 V  cos 2 V  1.

P sin(a)

1 a cos(a)

FIGURE 4.23 sin() and cos() on a circle.

This means that the sin() and cos() functions represent the positions of a point moving around a circle at a constant speed. If you were to drive a pin into the side of a wheel, the vertical position of the wheel over time as the wheel spins will be a sin() function (assuming it starts horizontally). We will look into this further in Chapter 16 on oscillations. For now simply note that any point on a circle with radius r centered on the point (x,y) has coordinates r sin F , r cos F for some value of F.

( ( )

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EXERCISES Exercise 4.1 Write a function solvetriangle(triangle) which takes an array representing a triangle with incomplete information and returns the array filled in as far as possible. Your function should accept a 6-element array where the first three elements are the lengths of the sides and the last three are angles (which may be in degrees or radians depending on your preference). Any of these values may be replaced with the string “?” representing an unknown. The function should return 0 if the triangle is impossible, a complete array of six numbers if the triangle can be solved, and an incomplete array if it cannot be solved uniquely. Exercise 4.2 Write a function rotatetofollow(triangle,point) which rotates a particular triangle around its centrum to aim at a given point. The function should take two arguments, one array representing the three vertices of the triangle (the first of which is taken to be the “front”), another giving the point to aim at. It should return the new vertices of the triangle. If you have trouble with this exercise, you might want to come back to it after reading the next chapter.

SUMMARY In this chapter we have begun to explore the world of geometry, and you have already learned a number of vital techniques which will be of use in animation and games. In the next chapter we will fill in a lot of the blanks which were touched on in this chapter but left unfinished.

YOU SHOULD NOW KNOW the meaning of an angle and the different ways of measuring it the meaning of the term area and how to measure it for an arbitrary rectangle, circle or triangle the various types of triangle—scalene, isosceles, equilateral, right-angled—and their properties

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how to use the trigonometric functions and Pythagoras’ Theorem to solve problems in right-angled and other triangles the meaning of the terms similar and congruent and what they imply for lengths and angles of shapes the meanings of rotation, reflection, translation, scale and shear, and how to calculate the first three of these for a given point or shape on the plane

5

Vectors

In This Chapter Overview Getting from Here to There Vector Motion Vector Calculations Matrices Exercises Summary You Should Now Know

OVERVIEW In this chapter we will examine the concept of a vector, a mathematical object describing relative positions in space. We already used vectors informally in the previous chapter, but now we will look at them in more detail, although a full treatment will wait until later chapters dealing with vectors in three dimensions. We will finish the chapter by looking at some calculations with matrices and how to use them to describe changes in space. Code samples from this chapter are implemented in math.cst in the scripts Chapter 5 (vectors), 2D vectors and trigonometry, 2D vector algebra (for the vector intersection code), and matrices.

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GETTING FROM HERE TO THERE We will start by describing vectors more formally and seeing how to perform basic calculations with them. The Vector As an Instruction A vector is like an instruction that tells something where to move. For example, a pirate’s treasure map that says “take four steps north and three steps east, then dig” describes a vector in two dimensions. An instruction in a hotel such as “go to the first floor, go along the corridor then take the first door on the right” describes a vector in three dimensions. Vectors describe the overall movement, not the journey. In the pirate map, it wouldn’t matter if you took one step west, four steps north and three steps east, you would still end up at the treasure—as long as you start in the same place. Vectors don’t have an intrinsic position in space, they simply tell you that if you start here you will end up there. Vectors are normally denoted by a letter in boldface such as u or v. When working in Cartesian coordinates, one can write a vector down by giving the distance moved in the x-direction and the distance moved in the y-direction, normally © ¹ written in a column array like this: ª« xy º» . For example, the vector drawn in Figure 5.1 © 3¹ is ª« 2 º» . Notice that because we are moving in the negative x-direction, the value in the x position of the vector is negative. These values are called the components of the vector in the x- and y-directions.

FIGURE 5.1 The vector

© 3¹ ª« 2 º» .

A vector is drawn as a straight line with an arrowhead indicating its direction. Usually the arrowhead is drawn at the end of the vector, although it is sometimes drawn in the middle. A vector can also be thought of as having two properties, a magnitude and a direction. The magnitude of a vector v, written |v|, is its length in space, which can

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be found from Pythagoras’ Theorem. So the magnitude of the vector ª« xy º» is x + y . In two dimensions, we can represent the direction by the angle the vector makes with an axis. A vector with magnitude 1 is called a unit vector, and in two dimensions it is equal to ©ª sin (F ) ¹º for some angle F. ª« cos (F )º» 2

2

Some people prefer to write the magnitude of a vector without using boldface, so the magnitude of v would be written |v|. We won’t use that convention in this book as it can cause confusion. If we specify a starting point for a vector (“from the old oak tree, take three steps north”), then it is called a position vector. Generally, we choose a standard starting point (the origin, as with graphs), then measure all position vectors from the same point. If we draw a position vector on a graph starting from the origin, the coordinates of the end-point are the same as the components of the vector (see Figure 5.2). If we label the endpoints O and P, then we can write the vector as OP .

y

P

(3,4)

4 3

(34)

2 1

-4

-3

-2

-1

O -1 -2 -3 -4

FIGURE 5.2 A position vector.

x 1

2

3

4

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A common notation is to use subscripts to represent the components of a vector, so for example the vector v might have the components (v1, v2). This is usefully similar to programming, where the components of the array v might be found by v, v and so on (at least in the convention of this book—more commonly it would be v, v), so we’ll use this notation fairly often. Vector Arithmetic Vectors can’t be multiplied together in any simple way, although there are two multiplication-like operations we can perform on vectors, one of which we’ll see in a moment, the other in Chapter 17, as well as a programmatic trick called pairwise multiplication where the components are multiplied in pairs to create a new vector, which is not a standard mathematical tool but often used on “vector-like” objects like colors (see Chapter 20). However, you can perform additions with vectors, and you can also multiply a vector by a scalar, which is a fancy word for an ordinary number. To multiply a vector by a scalar, multiply each component by the scalar: © x ¹ © ax ¹ aª º = ª º « y » « ay » To add two vectors together, add their components in pairs: © a¹ © c ¹ © a + c ¹ ª« bº» + ª« d º» = ª« b + d º» Multiplying a vector by a scalar changes its length proportionally, while leaving the direction unchanged (see Figure 5.3). If the scalar is negative,  then the new vector faces in the opposite direction. In particular, if the vector AB is v, then the  vector BA is -v. For a non-zero vector v, if we divide it by its magnitude |v| (equivalently, mul1 tiply by the reciprocal of its magnitude v ), we get a unit vector, sometimes written v or vˆ . This is called the normalized vector or norm of v (not to be confused with its normal, which we will look at later). For the sum of two vectors, look at Figure 5.3, where you can see that the sum of the vectors is equal to the result of following one and then the other—remember that vectors don’t care what route you take to the end point, they only care about the final position.

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2v v

v

u u+v -v

FIGURE 5.3 Adding two vectors and multiplying by a scalar.

The difference between two vectors is a slightly more subtle concept. If we consider both vectors to be position  vectors, one of the point P and the other of the point Q, so u = OP and v = OQ then the difference v  u is the vector PQ (see Figure 5.4).

P u v-w

O v

Q FIGURE 5.4 The difference of two vectors.

The reason this works is that if you start at P,follow  the  vector  u  and then the vector v, you end up at Q, so v  u =  u + v =  OP + OQ = PO + OQ = PQ . These calculations are surprisingly powerful. For example, what is the position vector of the mid-point of the line PQ? If you start at O, travel to P, then  move halfway along the vector PQ, you reach the mid-point M. So the vector is equal to OM   (u + v ) 1 1 OP + 2 PQ = u + 2 v  u = 2 , which is to say, the mean of the vectors u and v. Similarly, the position vector of the centrum of a triangle is the mean of the position vectors of its vertices.

(

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Some programming languages have innate support for vector calculations. For example, most languages allow you to add arrays and multiply them by scalars using precisely the rules we used above. 3D engines will usually include functions for calculating the magnitude and norm of a vector. However, to make everything crystal clear, here is the set of functions for the calculations introduced so far. function addVectors (v1, v2) // assume v1 and v2 are arrays of the same length set newVector to an empty array repeat for i=1 to the length of v1 append v1[i]+v2[i] to newVector end repeat return newVector end function function scaleVector (v, s) repeat for i=1 to the length of v multiply v[i] by s end repeat return v end function function magnitude (v) set s to 0 repeat with i=1 to the length of v add v[i]*v[i] to s end repeat return sqrt(s) end function function norm (v) set m to magnitude(v) if m=0 then return "error" // you can't normalize a zero vector return scaleVector(v,1/m) end function

Let’s look at one more important calculation, the angle between two vectors. We’ll see an easier way to calculate this later in the chapter, but for the moment, look back at Figure 5.4. Notice that the vectors u, v and u  v form a triangle OPQ. So this means we can use the cosine rule to find any of the angles from the magnitude of these three vectors. In particular we can find the angle V between u and v by:

Vectors

2

cosV =

2

u + v  uv

109

2

2u v

function angleBetween (vector1, vector2) set vector3 to vector2-vector1 set m1 to magnitude(vector1) set m2 to magnitude(vector2) set m3 to magnitude(vector3) if m1=0 or m2=0 then return "error" // it makes no sense to find an angle with a zero vector if m3=0 then return 0 // the vectors are equal return acos((m2*m2+m1*m1-m3*m3)/(2*m1*m2)) end function

The Normal Vector If two vectors are perpendicular, they are also called normal. In two dimensions, it © ¹ is very simple to find the perpendicular to a given vector ª« abº» , simply invert the vec©  b¹ tor and take the negative of one component: «ª a »º . To see why, consider the vector as a position vector and remember our trick for fast rotation by 90°. As any scalar multiple of this vector will still be perpendicular to the original vector, it doesn’t matter which component you make negative—multiplying by 1 will give you the same vector in the other direction. function normalVector (vector) return vector(-vector,vector) end function

Two vectors are perpendicular if and only if the sum of the products of their components is zero. In the above example, the product of the x-component of each vector is –ab and the product of the y-components is ab, so their sum is zero as required. We’ll look at this further in a moment. Vectors and Scalars in Real Life Many day-to-day quantities are best measured with vectors, and it is worth looking at them here as it gives a much clearer indication of what a vector is and why it is important. All these terms are concepts we will be looking at in much more detail later, but they should be familiar enough from normal language to use informally here.

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Distance: a scalar quantity, measuring the length of the shortest line between two points Displacement: the vector between the two points Speed: a scalar, measuring the distance something travels in a certain time Velocity: a vector, measuring the displacement traveled in that time Mass: a scalar, measuring how much force is required to move something (in whatever direction) Weight: a vector, measuring the force required in a particular direction to keep something in the same place against the pull of gravity One common factor with these terms is that informally each pair is used interchangeably. We describe an object as having a certain “weight” when really we are describing its mass, or a train traveling with a “velocity” of 100 km/hr when in fact this is its speed. Thinking in terms of vectors does not come naturally to most people. However, it is an important distinction and worth bearing in mind. When we meet Newton’s Laws later, for example, we will talk about forces changing an object’s velocity, and it is perfectly possible for an object to change velocity without changing speed: think about a ball on the end of a string moving in a circle. Its direction of travel is changing constantly, but its speed is constant. Describing this in terms of vectors makes things simple: the velocity of an object is a vector, its speed is the magnitude of this vector.

VECTOR MOTION Let’s spend a little time now looking at how we can use vectors to perform some more useful calculations. Pay close attention to this section, we will be using these ideas extensively in later chapters, particularly collision detection and resolution. Describing Shapes with Vectors Using vectors is often a very convenient way to describe the relationship between points on the plane. For example, we have already encountered the word parallel, where two infinite lines are said to be parallel if either there is no point that lies on both lines, or if all points on one line are on the other (i.e., they are the same line). This works well for infinite lines, but proves to be slightly more complicated for the kinds of lines we deal with most of the time, which have end-points (these are called line segments). Using vectors, we can simplify the definition: two lines are parallel if for any distinct points P andQ on one line and P' and Q' on the other, there is some scalar a such that PQ = a P'Q' .

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111

We can also use vectors to provide a “recipe” for creating shapes on the plane. For example, given two points A and B with  position vectors a and b, we can draw a square by first finding the normal of AB (that is to say, of b  a), which we’ll call n. We’ll assume n has the same magnitude as b  a, which will be true by construction if we use the method described above. If not, we can easily scale it to the right length. Construct the a  n and d  b  n. Notice that points C and D by c  d  c  b  a and that AB is perpendicular to AC, so the points A,B,D,C form a square (see Figure 5.5). Notice that there are two possible squares that can be drawn on the line segment, depending on the direction chosen for the normal vector n.

A n

a

C b-a

O b

b-a

B n

D FIGURE 5.5 Constructing a square with vectors.

Constructing an equilateral triangle is just as simple. We start with a little trigonometry: The length of the line from a vertex of an equilateral triangle to the mid-point of the opposite side is 23 times the length of a side. (This should be simple to prove using Pythagoras’ Theorem.) So if we have two vertices A and B, we can construct the third vertex C by c = a +2 b + 23n , where again, n is the normal vector to b  a. Remember that a +2 b is the position vector of the mid-point of A and B. We can use similar constructions to create more complex shapes too. In Exercise 5.1 you will be writing a set of functions for creating shapes such as arrowheads and kites. The great advantage of such functions is that they can be very easily parameterized to create a large number of variants on the same theme. For example, here is a function that will create a whole family of letter “A”s:

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function createA (legLength, angleAtTop, serifProp, crossbarProp, crossbarHeight, serifAlign, crossbarAlign) // serifProp, crossbarHeight, crossbarProp, serifAlign and crossbarAlign should be values from 0 to 1 // angleAtTop should be in radians set halfAngle to angleAtTop/2 set leftLeg to legLength*array(-sin(halfAngle), cos(halfAngle)) set rightLeg to array(-leftLeg, leftLeg) set crossbarStart to leftLeg*crossbarHeight set crossbarEnd to rightLeg*crossbarHeight set crossbar to crossbarProp*(crossbarEnd-crossbarStart) add crossbarAlign*(1-crossbarProp)*(crossbarEnd-crossbarStart) to crossbarStart set serif to serifProp*(rightLeg-leftLeg) set serifOffset to serifAlign*serif set start to array(0,0) drawLine( start, leftLeg) drawLine(start, rightLeg) drawLine(crossbarStart, crossbarStart+crossbar) drawLine(leftLeg-serifOffset, leftLeg-serifOffset+serif) drawLine(rightLeg-serifOffset, rightLeg-serifOffset+serif) end function

You can see some examples of letters drawn by this function in Figure 5.6. One of the most interesting side-effects of this kind of approach is that you can take parameters of this kind and carry them across to related letters, creating a whole font in a similar style. If you find this kind of thing interesting, you might also want to look at Douglas Hofstadter’s Letter Spirit project, which tries to explore the question of what it means for a font to be in a similar “style.”

FIGURE 5.6 Letter “A”s drawn with the createA function.

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Moving from A to B All this has been building up to one of the most fundamental questions in programming, especially of games: How do we move this from here to there? In other words, if Jim is at (a,b) and he walks to (c,d), what path does he follow? (See Figure 5.7.)

Q time=T

P

p+t(q-p) time=t

time=0 FIGURE 5.7 Jim’s path.

Let’s break this down into its constituent parts. At time 0, Jim is at P  (a,b). At time T, Jim is at Q  (c,d). We want to know Jim’s coordinates at time t, where 0 <  t <  T To do this, we need to quickly introduce the concepts of speed and velocity, mentioned above and to be dealt with in much more detail later. Let’s start by looking at the problem in terms of vectors. In the time period of length T, Jim  moves straight along the vector PQ , which is ©«ª dc ¹»º  ©«ª ab¹»º = ©«ª dc  ab¹» . This is called his displacement vector. The length of this vector, ( c  a ) + ( d  b) , is the distance he travels. If we divide distance traveled by the time taken, we get the speed of the journey, measured in a unit of distance divided by a unit of time, such as a meter per second or ms 1 . The speed is the distance traveled in each time unit. Velocity, similarly, is the displacement vector divided by the time taken (note that time is a scalar quantity), which is the vector traveled in each time unit. So in this case, Jim’s velocity is 1 © c  a¹ . T ª« d  bº» 2

2

Speed is a little more subtle than this, in fact. If you travel in a long circle, ending up where you started, your displacement is zero, so your total velocity was also zero, and so your mean velocity was: zero! However, your mean speed was not zero, it was equal to the circumference of the circle (the distance traveled) divided by the time taken. So speed is found using the length of the path traveled, not the length of the eventual vector. Of course, when moving in a straight line this is immaterial.

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Now we want to know where Jim is to be found at atime t. This is simple: he t has gone a proportion T of the way along the vector PQ . If we say that this proportion is m (i.e., t  mT), his position vector is   © a ¹ © c  a ¹ © mc + (1  m) a ¹ OP + mPQ = ª º + m ª =ª º « b» « d  b» « md + (1  m)bº» When programming motion, it is often useful to precalculate many of these values. In object-oriented programming, you will probably be representing something such as a sprite on the screen by an object, which you will send to a new location by some method that takes the new location and time as a parameter. Then you could run a function like this: function calculateTrajectory (oldLocation, newLocation, travelTime) if time=0 then justGoThere(newLocation) otherwise set displacement to newLocation-oldLocation set velocity to displacement/travelTime set startTime to the current time set stopPosition to newLocation set startPosition to oldLocation end if end function

Having done this, whenever you want to update the position of the sprite, you can simply calculate the new position directly: function currentPosition () set time to the current time-startTime if time>travelTime then set current position to stopPosition otherwise set current position to startPosition+velocity*time end if end function

This method actually uses one variable you can manage without, which is startPosition. Can you think of how you could do the same thing without remembering your starting position? Hint: try counting down instead of up. It is generally more useful to give your object a standard speed and calculate the time to travel from there. You will do this in Exercise 5.2.

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More Complicated Vector Paths Vector motion is not only useful for straight lines. We have already seen that many simple shapes can be described by a sequence of vectors, and in this section we will see a few examples of curved motion created by changing the velocity of a particle as it moves. The word particle is mathematical shorthand for an indeterminate moving “thing.” Particles are supposed to be infinitely small, although they can have properties like electrical charge or mass, depending on the circumstances. We’ll be using it frequently to describe a moving element (sprite) on the screen, as it is conveniently not a word that has an alternative meaning in programming (unlike “object,” for example). Suppose that instead of approaching Q directly, JimBob wants to skirt round it a little. He can do this by adding a multiple of the normal vector to his trajectory. Take a look at Figure 5.8. Here you see that JimBob does not move directly along the line PQ, instead he travels a short distance along it and a short distance perpendicular to it to the point P'. Then at the next step he does the same thing, moving a little perpendicular to P'Q to P", and so on.

P''' P'' Q P' P FIGURE 5.8 JimBob’s path.

You can see that the path JimBob follows is a spiral, and in the second diagram you can see that the tightness of the spiral depends on how large the normal vector (the tangential component of the motion—see later) is when compared to the inward speed (the radial component). If the tangential component is zero, then JimBob travels along a straight line. If it is greater than zero but small, he travels along a slightly curved path, if it is large, he spirals in gradually, and if it is infinite (or equivalently, if the radial component is zero), he simply moves in a circle around Q.

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Of course, because our time steps are not infinitely small, the path we see the particle traveling on the screen will not be mathematically accurate, but the basic behavior is the same. Here is a function that will move the particle in a curved path of this kind: function curvedPath (endPoint, currentPoint, speed, normalProportion, timeStep) set radius to endPoint-currentPoint if magnitude(radius)s1 then return false if c2>s2 then return false if c1=s1 or c2=s2 then return true // NB: for a safer test, use e.g. abs(c1-s1) r there is no intersection, otherwise the intersection is a circle, whose radius is rc = r 2  d 2 and whose center is p c = p + tv  dn . Now, this should give a clear idea of how we could find the collision between a sphere and a disc. There are two possible collisions: in the first, the sphere collides somewhere inside the disc, so d = r and p c  q f s . This tells us that

(

)

(p  q + tv  rn)  (p  q + tv  rn) f s (p  q + tv )  (p  q + tv )  2r (p  q + tv )  n + r n  n f s (p  q + tv )  (p  q + tv ) f s + r 2

2

2

2

2

So if we find the point of collision of the sphere with the laminar plane, we can use the above test to check whether it lies within the circle (of course, the same result could be found much more simply with Pythagoras’ Theorem, but bear with it).

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Mathematics and Physics for Programmers

Now let’s look at the other possibility that the sphere collides with the circumference of the disc. In that case, we know that the circle of intersection of the sphere and the laminar plane must be touching—that is, p c  q = rc + s . Since in our case we’re looking at a cylinder, we know that the sphere can collide only on one side of the disc, so we also know that d is positive (this would not be the case for a literal flat disc like a CD). So to find a collision with the circumference, we are looking for t such that

(p  q + tv  rn)  (p  q + tv  rn) = ( r  d + s) (p  q + tv )  (p  q + tv )  2rd =  d + s + 2s r  d 2

2

2

2

2

2

2

We can replace d by its full dot-product expansion here to yield an equation in t which can’t be solved algebraically but is nevertheless a fairly smooth function (essentially quadratic). It shouldn’t come as a surprise to find no algebraic solution here: the cross-sectional circle is rather similar to a moving ellipse, when viewed from the perspective of the disc. If we’re dealing only with a particle of zero radius, then we can ignore the possibility of a collision along the circumference. So there is an algebraic solution in this case. A Cone and a Sphere or Particle To calculate the collision of a sphere with a cone, we need to take into account the angle of slope of the sides. As before, we can expand the cone by r to reduce the case of a colliding sphere to one of a colliding particle, but we have to be a little careful with this method when calculating the point of impact. For simplicity, we’ll assume that the cone’s apex, the point at which its radius is zero (which may not be part of the physical cone if it is not infinitely long) is at the origin. From there, its sides come out at an angle F. If the particle is at p + t v and the cone’s normalized axis vector is u, then we can calculate the particle’s distance from the axis to be d=

(p + tv )  (p + tv )  ((p + tv )  u)

2

The radius of the cone on the plane containing the particle at that time is

(

)

r = p + tv  u tan F When the particle collides, these two values must be equal, giving us an equation for t:

Collision Detection in Three Dimensions

399

(p + tv )  (p + tv )  ((p + tv )  u) = (p + tv )  u tan F (p + tv )  (p + tv ) = ((p + tv )  u) ( tan F + 1) = (( p + tv )  u ) cos F 2

2

2

2

2

As you can see, this is a fairly minor change to the equation for the cylinder. To transform to the case of a sphere is simple, except that in collisions with the endcaps we can no longer be sure that the distance from the sphere to the cap plane is positive at the moment of collision. Two Cylinders When we’re looking at the collision of two cylinders, the most sensible thing is to consider them as ellipses moving through a plane (this is for collisions along the body of the cylinder rather than the end-caps). Simply choose a plane in space— perpendicular to one axis is sensible—and project both cylinders onto this plane. If the cylinders are aligned along the same axis, this is simple to solve, as it’s equivalent to two moving circles. But if they are not aligned on the same axis, this becomes an elliptical collision and so requires numerical methods to solve. To calculate the projected ellipse onto a plane through a cylinder (see Figure 19.9), we first calculate the center of the ellipse, which is the point at which the plane intersects with the axis. The halfminor axis of the ellipse is always the radius of the cylinder, and directed along the cross-product of the plane normal and the

r r

FIGURE 19.9 Projecting a cylinder to a plane.

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Mathematics and Physics for Programmers

axis. By finding the cross-product of this with the plane normal, we can find the vector of the major axis, and by finding the angle between this vector and the axis, we can find the length by trigonometry.

WHEN STUFF COLLIDES As you can see, even these simple shapes can involve complicated calculations, often with no algebraic solution. For more complex shapes you need a strategy to perform the calculations necessary in a realistic time scale. Bounding Spheres, Ellipsoids, and Boxes As in 2D, the most useful technique for calculating collisions of more complex shapes is to create a bounding volume: a shape that is known to contain the whole of your object. When the object is very nearly the right shape already, you can use the bounding volume as a proxy for collision calculations. If not, then the bounding shape can at least be used to perform an initial, simpler collision check before performing a full triangle-by-triangle calculation. The process of calculating a bounding volume in 3D is very similar to the process in 2D. To create a bounding sphere, for example, we can average all the vertices of our model to get the center and then calculate the radius as the maximum distance of one point from the center (as in 2D this won’t usually yield the smallest possible sphere but it’s a quick and cheap method). Bounding ellipsoids can be found by a process of factor analysis as before, and we can create both axis-aligned and object-aligned bounding boxes. Collisions with an Arbitrary Mesh For a more complex shape there is generally no better method than to check collisions with an arbitrary mesh, which consists of a number of vertices joined together in triangles, with the normal of each triangle known and pointing “out” of the shape (a two-sided mesh has two sets of triangles, one pointing inward, the other outward; the direction of the normal is calculated according to the order of the vertices, so that when you are looking at the triangle, with its normal pointing toward you, the vertices are ordered in a clockwise direction). Usually it is still possible to create a simplified shape as a proxy, however, with fewer triangles to calculate. The technique for calculating collisions with a triangular mesh is essentially the same as for a box, using the trick illustrated in Figure 19.2 to determine whether a point is inside a triangle: assuming the point is in the plane of the triangle, it is inside it if it’s on the correct, interior side of each of the three edges. This means it has

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to be on the same side as the other vertex of the triangle: thus, its dot-product with the cross-product of the edge and the normal must be positive. That is, if we set n1 = n × v 2  v 3 , then n1  v1  v 2  n1  p  v 2 v 0 .

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RESOLVING COLLISIONS IN THREE DIMENSIONS The laws of physics, unsurprisingly, don’t change a great deal by adding another dimension. Things bounce and collide just the same way as before. This means that all the techniques we used in 2D carry across almost unchanged although we now have a tangential plane rather than just a tangential line, as mentioned earlier. The one exception (and isn’t it always so) is rotation. As we’ve already seen, spin can take place in several directions—or rather, a spin in one direction can be conceived of as three spins in perpendicular directions. This makes it a little hard to handle, and we don’t have space to look into it here. Actually, the underlying concepts don’t really change here either, but the calculations do get a little messy. In any case, calculating collisions between 3D spinning objects is definitely beyond our scope.

EXERCISES Exercise 19.1 Translate one or more of the examples in the chapter into a concrete function, and include a function to resolve the collision. Most of the examples were given without code, but with the experience of 2D collisions you shouldn’t find this too hard for spheres and boxes at least.

SUMMARY With luck, you’ll have reached the end of this chapter thinking that linear collision detection in 3D doesn’t look too bad—not much harder than you’ve already tackled. If so, you can feel pleased with yourself, as it means you understood the techniques already covered. If not, you should go back to earlier chapters and see what you’ve missed. We’ve looked now at a large number of different shapes and seen how we can make some calculations to detect collisions between them, as well as more general techniques which will work on any mesh. There is still plenty of work to do in order to fill in the gaps, though!

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For the next chapter in this high-speed tour of 3D, we’ll look at how surfaces are given shape by light.

YOU SHOULD NOW KNOW the meaning of sphere, ellipsoid, spheroid, cuboid, cylinder, cone, and mesh how to calculate the intersection of each of these with a ray, or collision with a small particle how to calculate collisions between spheres and each of the others, and between pairs of similar objects how bounding volumes can be used as an extension of 2D bounding shapes

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Lighting and Textures

In This Chapter Overview Light Materials Shading Exercises Summary You Should Now Know

OVERVIEW In this chapter we’re going to look at how an object is made to come to life instead of being a wireframe drawing. To create the illusion of solidity, we need to understand the nature of light and how it can be simulated in real time. Code samples from this chapter are implemented in math.cst in the script chapter 20 (color). The textures demo demonstrates texture projection.

LIGHT Before a 3D scene can be drawn to the screen, as well as knowing the position of each polygon, we need to know what colors to draw. This involves lighting the 403

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scene. We’ll take a quick look at how lights work and how they are used to create complex color effects. Real Lights When atoms gain and then lose energy, they emit it in the form of a wave of oscillating electric and magnetic fields we call electromagnetism, which, depending on the amount of energy, has varying frequencies and wavelengths (but the same velocity in a vacuum). Our bodies include detectors that respond to a certain range of these frequencies, which we call light (or more accurately, visible light). One of these detectors, the rod, is sensitive to levels of brightness (the amplitude of the wave), while the other, the cone, is sensitive to the frequency. Actually, we humans have three different kinds of cone, sensitive to three different ranges of light that we experience as red, green, and blue. Most mammals have two kinds of cone, and some animals can see ranges of light that we consider invisible—for example bees see into the ultra-violet (higher-frequency light than we can see), while snakes can see into the infra-red (lower-frequency), although not through their eyes. We don’t only see three colors, however. Most light contains several overlapping waves with a broad range of frequencies, so generally all three kinds of cone are activated to different levels, as are the rods, and this mixture of frequencies is discriminated / experienced as a single color. Even a single-wavelength beam that doesn’t trigger one cone precisely can be discriminated by the amount to which it activates the neighboring cones. So a wavelength half-way between “pure” red and “pure” green is experienced as yellow, and half-way between green and blue is experienced as a sky-blue color called “cyan,” while a mixture of blue and red is experienced as a purplish color called “magenta.” In fact, our visual system considers the colors to go in a cycle red-yellow-green-cyan-blue-magenta-red, although this bears no relationship to the underlying wavelengths of light. A mixture of lots of different wavelengths is experienced as white, while no light at all is experienced as black. Computers take advantage of this peculiarity of our visual system by mimicking it in the way they display colors: each pixel of the screen is actually made up of three separate emitters of red, green, and blue, which can take any value between off and on—for a high-resolution display, each one can have a value between 0 and 255. When all three are fully lit, this creates a white dot, when none are lit, this makes a black dot, and we can create 16777216 different colors this way. We can represent each color by a 3D RGB vector, representing the size of each color by a real number between 0 and 1, so the color 0 0.5 0.5 would be a mid-intensity cyan. The advantage of this is that it allows us to perform arithmetic with colors, as we’ll see shortly.

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It’s worth going into all this detail because many people think color is just “the wavelength of light,” which misses an important issue that color is actually a micro judgment by the brain based on all the wavelengths the eye receives, and is also affected by global issues, so that if we are in an environment with an “ambient” light that has a blue tinge, or with strong shadows, our perception of the scene soon learns to subtract these global values off to see the underlying color. There are a number of optical illusions that make use of this phenomenon. We see objects in the world because light, from the sun or elsewhere, bounces off their surfaces and reflects into our eyes. Each surface reacts to light differently: a mirror reflects all light exactly as it comes in, like an elastic collision (specular reflection); a white ball absorbs the light and then emits it all again in all directions, in the process losing any detail (diffuse or Lambertian reflection), and a black piece of charcoal absorbs nearly all of the light but doesn’t emit it again (at least, not as radiation: it heats up and loses it to the air). A red surface is part-way between the two: it absorbs most of the light, but releases some of it back, in a mixture of wavelengths we experience as red. And a red pool ball has two surfaces, a specular glaze, which reflects some of the light unchanged, and beneath it a diffuse surface that absorbs and emits it, creating a surface with some mirrored qualities and some red. To model all these factors in a real-time engine would take enormous computing power (although we’re getting constantly closer to it). But we can use certain tricks in order to fake it. So let’s start by considering ideal lights. Fake Lights The light striking any given point on a 3D object is a combination of three factors. The first is ambient light. This simulates the light that “surrounds” us: for example light that has come in from a window and bounced around the room several times until it has no real direction—it just illuminates everything in the scene. Ambient light is easy to calculate because it acts equally on all polygons in all directions (although more complex models allow the ambient light color and brightness to vary through space). The second is directional light. As the name suggests, this light comes from a particular direction, like the light of the sun, but it is not affected by position: all objects in the scene are illuminated by it equally. A scene can have any number of directional lights, which for convenience are placed in the scene as if they were ordinary nodes, but only their rotation vector is relevant to their effect. Finally, there is what might be called attenuated light, which has two forms, spot lights, and point lights. These are objects that can be placed in a scene and illuminate the objects around them with a particular color. Objects nearer to the light and, for spot lights, objects closer to the main beam of the light, are illuminated more than those further away. How much this happens depends on three attenuation constants that modify the brightness of the beam by a factor b: for a point light we have

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b=

1 k1 + k2 d + k3d 2

while for a spot light pointing in the direction u and at a unit vector v and distance d from the surface, we have b=

max( ( u  v ), 0) p k1 + k2 d + k3d 2

where p is a special constant which measures the spread or focus of the light: a high value of p means that the light mostly illuminates a very narrow beam, while a low value makes it spread out more widely. An alternative method is to specify an actual angle for the beam. We use the max( ( u  v ), 0) term to ensure that only surfaces whose normal is pointing toward the light are illuminated. Figure 20.1 shows an object illuminated by different kinds of lights.

FIGURE 20.1 Four different lights.

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MATERIALS Each of these lights strikes the surface of objects in the scene and reflects off them to make them visible. How they do this is determined by the quality of the surface, which is achieved by means of an object called a material, which you can think of as a “coating” applied to the object. We’re using the word “material” to cover a number of different concepts here— much as, for example, Director’s 3D engine uses the word “shader” which unfortunately has a number of different meanings in 3D engines and so we’re avoiding it here. Different 3D modeling programs and APIs use different terminology for the same idea.

The Color Elements of a Surface A material describes all the different qualities of the surface, and includes a number of different color components, which can either be single values or image maps. We’ll look at image maps in the next section, for now we’ll simply think of these as single values applied across the whole surface. Let’s look at some of these components now. The simplest element is called the emissive color: this is a color actually given off by the object, like a glowing lamp. Emissive light is a cheat: unlike real light it has no effect on any other object, just changes the color of the object emitting it, in all directions. But this makes it computationally cheap and a simple way to create objects of different colors. We’ll call this color cem. The next component is the diffuse color, which tells us the color of light that would be Lambertian reflected if the surface was illuminated with full-spectrum white light (in other words, it’s the best candidate for “the color of the surface”). The diffuse color is not dependent on the position of the observer, but it does vary according to the angle of the light falling on the surface. The closer the light angle is to the surface normal, the more of it is reflected, since the surface is illuminated by more of the beam as shown in Figure 20.2. This gives us a formula for the diffuse color component from a surface with normal n, due to a particular light. If the diffuse color of the material is d, and it’s illuminated by a light of color c from the (unit) direction v, then the Lambertian reflection cdiff is given by cd max n  v , 0 , where the multiplication of the colors is performed pairwise. Remember that color vectors are not the same as linear vectors in space—pairwise multiplication is said to modulate one color with another, so making a blue vector redder, for example. It’s the correct method to use when dealing with a surface which absorbs some frequencies and reflects others. Note that

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v n

cdiff

FIGURE 20.2 Calculating the diffuse component.

ambient light is normal to all surfaces, so the diffuse component of an ambient light is just cd. The specular component has two elements, a color s and an exponent m. These combine to create a light of a single color, called a specular highlight. What they don’t create is a mirror-reflection. This is because to create a mirror-reflection we’d need to model not just the direct light on the object due to the various lights in the scene, but the light reflected off all the other objects as well, which brings us into extremely computationally expensive ray-tracing territory. The illumination of an object in a real-time 3D scene is only affected by the lights themselves, not by light emitted, absorbed or reflected by other objects, which affects not only the possibility of mirror-images but of real-time shadows as well. Both of these have to be modeled in a different (not entirely satisfactory) way: we won’t be looking at shadows here, but we’ll look at mirror reflections later. As we saw above, a specular reflection is the light-equivalent of an elastic collision, which means that the light bouncing off the surface is emitted preferentially at the same angle as it strikes, as shown in Figure 20.3. This means that the nearer the viewing vector is to this (unit) reflection vector r, the brighter the specular light is. We modify how near the vector needs to be by means of the exponent m, which “focuses” the reflection in much the same way as the exponent p did for spot lights. So, again, we can calculate the specular reflection due to a particular (nonambient) light as before. There are different formulations, but this one works pretty well: assuming that n  v > 0 and the observer is at a vector w from the point on the m surface, we have c spec = sc max r  w,0 . A specular color of white is usually the most appropriate. The exponent m can take any value: a value of 0 essentially gives you a diffuse color, while an infinitely high value gives what would in theory be a mirrored surface—only a viewing angle exactly along r will detect the light.

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r w

FIGURE 20.3 Calculating the specular component.

Each of these values needs to be calculated for each non-ambient light applied to each surface. The sum of the values due to all the lights in the scene is the color seen by the viewer. Notice that in this case we add the colors (with a maximum of 1 for each primary color), because this time we are combining the effects of several light sources, not using one color to modulate another. We can sum all this up with the following functions: function surfaceColor (normal, position, material, lights, observerPosition) set color to emissiveColor of material set observerVector to observerPosition - position repeat for each light in lights set lightColor to illumination(position, light) if light is not ambient then set v to the direction of light set diffuseAngle to max(-dotProd(normal, v),0) if diffuseAngle>0 then set diffuseComponent to modulate(diffuseColor of material, lightColor) add diffuseComponent*diffuseAngle to color set specularReflection to v + 2* dotProd(v, normal) set specularAngle to max(dotProd(observerVector, specularReflection), 0) set brightness to power(specularAngle, specularFocus of material) set specularComponent to modulate(specularColor of material, lightColor) add specularComponent*brightness to color

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end if otherwise add lightColor*diffuseColor of material to color end if end repeat end function function modulate (color1, color 2) return rgb(color1*color2, color1*color2, color1*color2) end function function illumination (position, light) set color to the color of light if light is spot then set v to the position of light – position set brightnessAngle to max(-dotProd(v, direction of light), 0) if brightnessAngle=0 then return rgb(0,0,0) set brightness to power(brightnessAngle, angle factor of light) multiply color by brightness end if if light is spot or point then set d to mag(v) set denominator to the constant factor of light add the linear factor of light * d to denominator add the quadratic factor of light * d * d to denominator divide color by denominator end if return color end function

There are additional components to materials, all of which are described by some kind of image map, which we’ll look at next. Image Maps and Textures Of course, not all objects are a solid color. Most have some kind of detail, which gives them a pattern or texture. In order to create these details, we use an image called a map, which gives information to the 3D API about the surface of the shape at a higher resolution than just polygon-by-polygon. How these maps are created and projected onto the surface we’ll see shortly, but for now we only need to know that they allow you to specify values for the various parameters of the surface at a pixel-by-pixel level. That is to say, it is a texel-by-texel level, because the pixels of the

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image map are converted to “texels” when they are applied to the surface, and can apply to different surface areas depending on how they are projected. But we’re getting ahead of ourselves. Some examples of image maps are: Texture maps: (or just textures) modify the diffuse component of the surface Gloss maps: modify the specular component Emission maps: modify the emission component Light maps: modify the texture map and thus the diffuse component Reflection maps: create a reflected image over the top of the main texture Bump maps and normal maps: create the illusion of more convoluted surfaces All of these are supported by most modern graphics cards, and as things get faster, new methods are added. You can also get 3D ambient light maps which are applied to whole volumes rather than individual materials. Reflection maps are actually the same as texture maps, they are just applied differently to the surface, as we’ll see. Texture, gloss, and emission maps are fairly simple to understand. Each of them is simply an image which gives the value of the appropriate color of a material at particular points. By specifying how this image is mapped to the surface, like clothing a paper doll, we can alter the end result. None of these really affect the calculations we performed above. All the equations remain the same, we simply have to add an additional color component drawn from the image map. (This is in addition to global diffuse, specular, and emissive components applied to the whole surface.) Textures can be combined to create more complex effects, in essentially the same way that they can be combined to create a complex 2D image in a program like Adobe Photoshop, using color techniques like adding, cycling, or blending. The most important example of this is the light map. It may seem strange that we have two different images for modifying the diffuse component. We don’t really need them, but they provide a useful method for saving memory. Textures are the most memory-hungry part of the 3D scene, and most 3D games and other real-time applications try to re-use them as much as possible to avoid filling up the memory space. But on the other hand, calculating all the lights in a scene is the most processorhungry part of the operation, and most of the time you’re recalculating exactly the same values every time, when the lights in a scene are basically static. So we’d like to pre-calculate the lighting in the scene and save it into the texture file (known as

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baking), allowing us to decrease the number of real-time lights, but doing so would be a huge increase in the amount of texture information. To get around this catch-22, we create a second map, a light map. This defines the lighting levels for each part of the scene, generally in a much lower resolution than the texture map. By using the light map to modulate the texture map, we can reuse textures across an entire room, while still gaining most of the processing advantage of an image map. In Figure 20.4 you can see how this works: the texture map in the first picture has been combined with the lower resolution light map in the second picture to create an image with a shadow. Most 3D modeling software includes the option to create baked textures, both as light maps and as new complete texture maps.

FIGURE 20.4 Using a light map to modulate a texture map.

A bump map is a way to model variations in height at a level of detail smaller than the polygon, such as pockmarks, blisters, and embossed text, by creating shadows and highlights. It’s a cheat of sorts, because the bumps are faked—like drawing a trompe l’oeil 3D image on a piece of paper. When the surface is viewed head-on it’s very convincing, but you can see it’s not really 3D when your eye is almost level with the paper. Bump maps are essentially height maps, where each point on the map represents a distance from the surface, usually as an 8-bit grayscale image. An alternative is the normal map, in which each texel encodes a normal direction as a color, by mapping the x, y and z coordinates of the (unit) vector to red, green, and blue values. Ultimately, the two maps are equivalent, with normal maps trading off an

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increased amount of memory used against a gain in performance. These normals are then used to perturb the normal of the surface, thus changing the results of the directional and specular components of any lights as shown in Figure 20.5.

FIGURE 20.5 A bump map and its effect on the lighting of a surface.

A normal map can be derived from a bump map in the way we read the height maps in Chapter 10, by comparing the heights of pixels in small neighborhoods of the bump map. Fitting a Map to a Shape In order to use our image maps correctly, we need to tell the engine which part of the image corresponds to which part of the surface. To do this, we have to create a mapping from the image to the surface: that is to say, for each point on the surface we have to match it to a texel in the image map (which for the sake of argument we’ll say is a texture). We start by labeling our texels using standard coordinates. Textures are usually 2D images, although for materials such as grainy wood, many people prefer to use 3D texels, which map to the whole volume of an object, creating more interesting effects. However, 3D textures are generally too costly to calculate in real-time and are not supported by all graphics cards. We label the texels using a separate coordinate system for clarity, such as s and t or u and v.

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To map the texels to the surface, we can use a transform again, but in a limited way—essentially restricting it to 2D, although with homogeneous coordinates intact in order to perform scaling operations. This allows us to rotate, translate, and scale the map before attaching it to each polygon. But we still need to work out what mapping to use. Some standard maps are: Planar: the texture is applied as if it passes the whole way through the object and emerges on the other side Cylindrical: the texture is wrapped around the object like a roll of paper Spherical: the texture is scrunched onto the object like a sphere Cubical: six textures are combined to form a cube which is mapped to the outside Bespoke: for some complex meshes like characters, we need to specify the texture coordinates for each triangle in the mesh individually Each of these options, apart from the last, consists of a way to translate the 3D information about the points on the surface of the object into 2D form. Let’s use the first three as simple examples: in a planar map, we just project the 3D coordinates of each vertex to a plane, whose xy- coordinates are used to map to the st- coordinates of the texture map. In the simplest example, the x and y coordinates of the object are mapped directly to the s and t coordinates of the image as shown in Figure 20.6.

FIGURE 20.6 Planar mapping.

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In a cylindrical map, we start by choosing an axis for the object, then we calculate the distance of each vertex along that axis, which scales to our t-coordinate. For the s-coordinate we use the angle the vertex makes around the axis, as shown in Figure 20.7.

FIGURE 20.7 Cylindrical mapping.

In a spherical map, we might use the latitude and longitude of each point as projected to a sphere (discarding the distance from the center), as shown in Figure 20.8. There are alternative methods for spherical mapping, none of which is perfect. Notice that in all these cases, the positions of the vertices are directly related to the texture coordinates. Of course, there are different values for these positions: we could use the object’s local geometry, or we could use its position in the world. This is going to create different effects. If we use the local geometry, then the texture will remain the same no matter how the model is transformed. We can rotate it, scale it, and so on, but the texture always looks the same. But if we use the world basis, the texture changes depending on how the object is placed. In particular, if we spin the object on its axis, the texture remains where it is, which simulates the effect of a reflective surface: we can make a texture that represents the reflection, and it will always be oriented the same way.

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FIGURE 20.8 Spherical mapping.

Reflection maps don’t always have to be used for reflections. A light map applied the same way allows your object to simulate the effect of constant shadows, like an apple turning under the dappled sunlight of a tree. You could even apply it to stranger objects like bump maps, although it would be an odd effect—lumps moving around under the surface, like the flesh-eating scarabs from the movie The Mummy. Mip-Maps One problem with image maps is that the image to which they are applied may be near to or far from the camera. If it’s far away, then we’re using much more information than we need about the surface: if each pixel on the screen covers a hundred different texels then we don’t really need to know the color of each one (in fact, having more information than we need can do more harm than good). Conversely, if it’s close then a single texel may cover a large amount of screen space, leading to aliasing, or jagged edges between texels. Let’s deal with the latter issue first. When working with an object that is close to the camera, we don’t normally want to draw each texel as a solid plane of color, we want to interpolate smoothly from one to another, which we can do using bilinear filtering, illustrated in Figure 20.9. Here, for each pixel, we determine the four nearest texels to a particular screen pixel and create a weighted average of all

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the colors at that point. In the figure, the two faces of the cube have the same 4  4 pixel texture, but the one on the left has bilinear filtering turned on.

FIGURE 20.9 Bilinear filtering.

As you can see, bilinear filtering is not without its problems—it can be a little overenthusiastic, blurring the texture too much. One alternative (or complementary) technique is oversampling. Here, instead of finding a single texel point under a pixel and then blurring with nearby texels, we find the texel points under a number of nearby pixels and blur them. The result is that near to the camera, we don’t see serious blurring, instead we see strongly delineated areas of color, but with nicely antialiased lines between them. Technically, oversampling is a ray-tracing technique rather than a real-time rendering technique, although the principle can be applied to both. For textures at a distance, one solution is to use a mip-map, which is a set of pre-calculated textures at different levels of detail (“mip” is an unusually intellectual piece of technical terminology, standing for the Latin phrase “multim in

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parvo,” or “many in a small space”). So we might have a texture that is 256  256 texels in size, but also store lower-resolution versions at 128  128, 64  64, and so on down to 1  1 (the last being the equivalent of the average color of the whole texture). The 3D engine can then choose which of these maps to use depending on the amount of screen space a particular polygon takes up. The amount of memory used by the mip-mapped texture is higher than before, but not much higher (less than 50% more), and the gains in both processing speed and image quality more than make up for it. Having created our mip-maps, we still have a number of issues to deal with. For example, what happens at the transition point between different maps? If a large plane is being viewed, the nearest edge of it will be seen with the highest-quality texture map, while the further edge will be using the lowest quality. In between, there will be places where the engine switches from one map to the other, which will be noticeable as a sudden increase in image quality. To avoid this, we can interpolate from one map to the other using trilinear filtering, combining the effects of different resolutions at the boundaries. In trilinear filtering (which really is something of a misnomer), we calculate the (bilinearly filtered) color due to both nearby mipmaps, then use a weighted average of the two to determine the appropriate color, so smoothing the transition (see Figure 20.10).

FIGURE 20.10 Using a mip-map, with and without trilinear filtering.

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Some cards use a more intelligent “cheat” dubbed “brilinear” filtering, which only applies trilinear filtering near the transition points to save time. More modern cards also use a more advanced technique called anisotropic filtering, which instead of merging square combinations of pixels, combines regions of pixels that are related to the angle of view, so that if the surface being viewed is heavily slanted away from the viewer, a more elongated section of it is used to create the combined pixel color. This is much heavier on the processor, but produces a very realistic effect.

SHADING Another way to create more detailed sub-polygon contours on a model is to use shading, which is a way to interpolate the surface color according to the surrounding faces to create a smooth object (rather than a faceted one such as one gets when using plain surface normals). Gouraud and Phong Shading The simplest shading method is called Gouraud shading, which works by calculating the correct color at each of the three vertices of a triangle, and then interpolating them across the triangle. Gouraud shading affects only the constant components of a material—that is, it is not affected by image maps. The interpolation is done using barycentric coordinates, which are rather like homogeneous coordinates. The barycentric coordinates w1 , w2 , w3 of a point P in a triangle can be defined as a set of weights that could be placed at the vertices of the triangle to put the center of gravity at P, or equivalently to balance the triangle on a pin placed at P, as shown in Figure 20.11.

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w2

B C

A

Barycentric coordinates.

If this seems somewhat obscure, it is—perhaps a slightly less strange way to describe it is in terms of the three areas A, B, and C in the second diagram. We find that choosing w1 = A , w2 = B , and w3 = C , gives a solution to the problem (only one possible solution since, like homogeneous coordinates, barycentric coordinates

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are invariant under scaling). Since the area of a triangle is half the magnitude of the cross product of two of its sides (Chapter 17), this gives us a simple function to calculate the barycentric coordinates of a point: function barycentric p, v1, v2, v3 set t1 to v1-p set t2 to v2-p set t3 to v3-p set a1 to t1*t2-t1*t2 set a2 to t2*t3-t2*t3 set a3 to t3*t1-t3*t1 return norm(vector(a1, a2, a3)) end

We can use these coordinates (scaled to unit length) to interpolate the colors: for each point of the triangle we multiply each vertex color by its appropriate weight and add them together. function colorAtPoint (pos, vertex1, vertex2, vertex3, color1, color2, color3) set coords to barycentric(pos, vertex1, vertex2, vertex3) return color1*coords + color2*coords + color3*coords end function

In reality, this process is made much more efficient by using a number of optimizations, allowing integer calculations to be used. And incidentally, once we know the barycentric coordinates of a point, we can tell if it’s inside the triangle if all three coordinates are between 0 and 1. With a faster graphics card, we can do additional work and create a kind of global bump map for the triangle: instead of calculating the colors and interpolating them, we interpolate the normals of the triangle (by the same method as before) and use these for pixel-by-pixel lighting calculations. This is called Phong shading, and obviously is a great deal more difficult for the processor. To save time, the 3D engine does do some interpolation, calculating the light intensity due to each light on a vertex-by-vertex basis and interpolating this across the triangle when calculating the contribution of each light. The Normal at a Vertex Both these shading methods rely on calculating the normal of the smoothed surface at each vertex. This is a problem we’ve encountered before, and we can solve it similarly here. The normal at each vertex can be calculated in two ways. The simplest

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is just to calculate the mean of the normals of all triangles that share that vertex. This works well for fairly regular shapes. A more advanced method is to weight the normal according to the size of each triangle, so that more prominent triangles have a greater influence. We can do this fairly simply by using the cross product as we did in calculating barycentric coordinates. As we’ve seen before, we find the normal to a triangle whose vertices are ordered conventionally (anticlockwise as you look down on the triangle) as v1, v2, v3, by finding the normalized cross product of v2 – v1, and v3 – v1. If instead we take the unnormalized cross product, we end up with a normal whose length is twice the area of the triangle. Averaging out these vectors before normalizing gives a weighted sum as required. If the model is not smooth, then there is no single answer to “what is the normal at this vertex?”: there can be three or more of them.

EXERCISES Exercise 20.1 Create a function that will apply a cylindrical, spherical or planar texture map to a surface. If you have a 3D engine, you can try the results of this function “in the field,” but even without a 3D engine, you should be able to calculate the st-coordinates for any vertex in the mesh. You’ll find the most difficult part is dealing with the “singularities” where the texture meets itself, for example the top of the sphere.

SUMMARY We’ve taken a fairly detailed look at lighting, textures, and shading in this chapter. We’ve learned how lighting in a 3D simulation relates to real-world light, and how surfaces can react in different ways to the light that falls on them. We’ve also seen how to use materials, how to make image maps, and how to project them to a surface. Finally we’ve examined shading and how it can be used to create the illusion of a smooth shape. In Chapter 21, the last in Part IV, we’re going to take a look at some 3D modeling techniques, including how to create surfaces from level maps and how to model water waves.

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YOU SHOULD NOW KNOW how we use the visible light spectrum to see objects the different ways that objects can react to light how light is modeled in the computer the meanings of ambient, diffuse, directional, and attenuated as they apply to lights the meanings of diffuse, specular, and emissive as they apply to surfaces how to create an image map how to project an image map to create textured surfaces, shadows, and reflections how to use a mip-map, bilinear, and trilinear filtering and oversampling to remove aliasing effects how colors are interpolated across a triangle to create a smooth surface

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Modeling Techniques

In This Chapter Overview Mathematical 3D Modeling Animated Surfaces Bones Animation Exercises Summary You Should Now Know

OVERVIEW For the final chapter on 3D, we’re going to look at some techniques for creating more complex objects at the mesh level. So far, we’ve been looking at how to move objects from place to place without considering how they were made—we’ve assumed that the objects are either primitives like spheres or boxes, or pre-existing polygonal meshes—but now we’ll examine the underlying surfaces and how they can be defined. We’re also going to look at how surfaces can be created which will animate in real time, particularly water and cloth simulations, and finish with a very brief look at creating animated characters, including the knotty problem of inverse kinematics. Most of the topics in this chapter are quite advanced. Whole books have been written on the subject of each of them. 423

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NURBS code samples from this chapter are implemented in math.cst in the script splines. The splines demo uses them in context.

MATHEMATICAL 3D MODELING So we’ll start by looking at static modeling techniques: how to build a realisticlooking surface from simple parts. Surfaces of Rotation As we’ve already seen a couple of times, one simple way to create a surface is by using a “lathe” technique, or more technically, by creating a surface of rotation. To create a surface of rotation, we begin by defining a function f in one variable, usually one that does not have any roots in a particular interval. We then define our surface as the set of 3D points whose distance from the x-axis at a particular value of x is f(x), over some range of x-values, as in Figure 21.1. In the figure, the function is a cubic, and the resulting surface is a kind of vase shape.

FIGURE 21.1 Creating a vase as a surface of revolution.

A surprising number of useful shapes can be created as surfaces of revolution— anything with complete rotational symmetry along one axis, or more physically, anything that could be modeled on a potter’s wheel. The big advantage of this approach is that many physical elements become reasonably easy to deal with—for example, the moment of inertia of a surface of revolution about its axis of sym2 metry is proportional to µ f x dx .

()

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Similarly, collision detection with a surface of revolution, while not simple, is somewhat simplified. We can consider the surface to be a succession of frustra of cones, and we’re only interested in collisions along the main surface, not with the top or bottom, the cause of most complications. Splines in 3D In order to create more complex surfaces, our best bet is to extend the concept of a spline into three dimensions, creating a spline surface. We’re going to build up to this a little, as the spline surface of choice in 3D, the B-spline or NURBS, is a fairly complex mathematical beast and takes some work to master. However, we can think a little about how we might extend the concept of a Bezier or Catmull-Rom spline into 3D. The simplest application would be to create a single curve in space, but to give it some depth by defining a normal at each control point. The result is something like a 3D track curving and twisting through space as shown in Figure 21.2. Here, the main curve follows a standard Catmull-Rom spline, where each control point is a 3D vector. However, a second “virtual” Catmull-Rom spline in one dimension defines a “curve” of angles from the vertical—we associate an angle with each control point, then create a normal vector at each point which is both perpendicular to the curve and at the correct angle to the vertical. The result is a smooth track in 3D.

FIGURE 21.2 Using a spline to create a curved track.

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We’ll return to this example in Chapter 23 when we look at tiled 3D splines. The problem with this method is that it doesn’t enable us to create a complete surface, just one that follows a specific line. We can adapt it by creating a grid of curves instead: define n  m control points, then use splines to interpolate a grid of n splines in one direction and m in the other. But the result is quite a lot of calculation and no real integration of the two directions into one (although it works just fine). NURBS All right, we’ve had two very brief sections to break us in gently, but there is no sense in putting it off any longer. The most common utility for drawing surfaces in 3D packages is the NURBS, which stands for Non-Uniform Rational B-Spline. Bsplines are an extremely versatile form of spline, which encompass both Bezier and Catmull-Rom, as well as being able to represent accurate circles, ellipses, spheres, and toruses, among other familiar shapes. A torus is a “doughnut-shape;” the plural should be “tori” but it isn’t widely used. Unlike the splines we’ve looked at up to now, B-splines are not defined segment-by-segment as individual cubic curves, instead they are created by a single knot vector, which is a set of values t0 , t1 ,..., tm such that for each i < m, 0 f ti f ti+1 f 1 (actually, it’s not necessary to scale the values between 0 and 1, but it’s more familiar for our purposes). This creates a set of points on the curve called knots, each of which is the result of setting the parameter t to one of the knot vector values. The knot vector is the principal way we classify B-spline curves, because different kinds of knot vectors create curves with particular kinds of behavior. In particular, when the knots are evenly spaced, the curve is called uniform (hence “non-uniform” in the NURBS acronym). However, as well as the knots, the physical shape of the curve is created, as always, by a number of control points, P0 , P1 ,..., Pn , where n f m . We define the degree of our spline to be equal to k = m – n – 1. Now we need one more element, which is a set of functions called the basis functions or blending functions, defined by a recursive process:

{

}

{

N (t ) + () (t ) = 1 for t f t < t

N i, j t = N i,0

t  ti ti + j  ti

i , j 1 i

ti+ j+1  t ti+ j+1  ti+1

i +1

()

N i+1, j1 t , for 0 < j f k , with

, 0 otherwise.

}

0 0

defined as 0.

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Recall the definition of a basis from the world of vectors: as it happens, it’s possible to extend the concept of a vector space into more abstract realms, particularly that of functions. Just as with more conventional vectors, a basis in an abstract vector space is a set of elements such that any element of the space can be written uniquely as a linear sum of multiples of the basis elements, so for example a basis for the infinite-demensional space of polynomial functions might be the functions 1, x, x2, x3 and so on. These functions are a little hard to visualize, so it may help to have a simple example: suppose that we have just five knots, at 0, 0.2, 0.5, 0.8 and 1, and a curve of degree 2 (so it has two control points) for which we want to find N1,2. By the rett t t cursive definition, we have N1,2 t = t  t N1,1 t + t  t N 2 ,1 t . Applying the definition again, we get

()

()

N1,2 t =

1

3

1

()

4

4

2

()

¹ t  t © t  t2 ¹ t  t1 © t  t1 t t t t N 3,0 t º N1,0 t + 3 N 2 ,0 t º + 4 N 2 ,0 t + 4 ª ª t 4  t3 t3  t1 « t2  t1 t3  t 2 » t4  t2 « t3  t2 »

()

()

()

()

Now we have reduced all the functions to j = 0, which means we can now apply the elementary definition, giving us several different behaviors: © t  0.2 ¹ tt If t < 0.2, then all of the functions evaluate to 0, so N1,2 t = t ( t t )  t ªª = (0.6 × 0.)3 ºº ( )( ) « » (t  t ) ©ª = (t  0.2) ¹º If 0.2 f t < 0.5 , then we have N1,0 t = 1 , so N1,2 t = t  t t  t ª 0.6 × 0.3 º ( )( ) « » If 0.5 f t < 0.8 , then we have N 2 ,0 t = 1, so N1,2 t == (t  t )(t  t ) + (t  t )(t  t ) (t  t )(t  t ) (t  t )(t  t ) t t If 0.8 f t < 1 , then we have N 3,0 t = 1 , so N1,2 t == t ( t t )  t ( )( )

()

() () ()

() () ()

2

2

1

3

1

2

1

2

2

1

3

1

3

2

1

1

3

1

3

4

2

4

2

2

3

2

2

4

4

2

4

3

Notice that if j = k, then the function contains a reference to k + 1 of the functions N i,0 . Notice also that the functions are entirely independent of the values of the control points, hence the reason that the knot vector has such a profound impact on the behavior of the curve. And although the definition of the basis functions seems a little horrific, computationally it is quite simple (in the code below remember that by the convention of this book, arrays begin with element 1): function NURBSbasisFunction i, j, t, knotvector if j=0 then // bottom out recursion if t=knotvector[i+2] then return 0 return 1

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end if // otherwise recurse if (knotvector[i+j+1]-knotvector[i+1])=0 then set a to 0 otherwise set a to (t-knotvector[i+1]) / (knotvector[i+j+1]knotvector[i+1]) if (knotvector[i+j+2]-knotvector[i+2])=0 then set b to 0 otherwise set b to (knotvector[i+j+2]-t)/(knotvector[i+j+2]knotvector[i+2]) return a*NURBSbasisFunction(i,j-1,t,knotvector) + b*NURBSbasisFunction(i+1,j-1,t,knotvector) end function

All right, so having defined the basis functions, we can at last give the equation of the B-spline curve, which is: n

()

()

C t = ¨ Pi N i ,k t i=0

The function is easy to compute, but notice that it is rather more abstract than the splines we’ve seen before. However, we still have a local behavior, where each curve segment is affected only by the nearby control points. In this case, as we have seen, each basis function, and thus each control point, contributes to exactly k + 1 of the curve segments. So what about the “rational” part of the NURBS acronym? If we use homogeneous coordinates to define our control points, we can think of them as a 3D vector and a scalar wi, which is the weight of the control point. This can be done for all B-splines (simply setting wi to 1 for each control point), but allowing w to vary gives us a little more control. Curves in which w is always 1 are called non-rational, while curves in which w is allowed to vary are called rational, and this, finally, leaves us with the general formula for a NURBS curve: n

()

C t =

¨ Pw N (t ) i=0 n

i

i

i ,k

¨ w N (t ) i=0

i

i ,k

Although NURBS is a singular noun, strictly speaking, and we can speak of “a NURBS,” this sounds awkward, so we usually think of the acronym as a plural or an adjective, as in “a NURBS surface” or “a NURBS curve.”

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Rational B-splines have one major advantage over NURBS, which is that they are invariant under all transformations: if you transform space then objects on one side of the NURBS surface may not end up on the same side afterward, but they always will for a rational spline. However, NURBS are invariant under affine transformations, and all transforms. One great advantage of the NURBS over other splines is the ease with which this concept can be transferred to a surface instead of a line, simply by adding a second sum: p

( )

S s, t =

q

¨¨ P i=0 j =0 p

i, j

()

q

¨¨ w i=0 j =0

()

wi , j N i ,k s N j ,l t i, j

()

()

N i ,k s N j ,l t

Here, the control points are now arranged in a grid, with p in one direction and q in the other, with two knot vectors of degree k and l respectively. In Exercise 21.1 you are asked to translate this description into an explicit algorithm, which should help to make everything clearer. Surfaces Generated with sin() and cos() NURBS surfaces are an excellent way to create generic solid objects, but in some circumstances there are effective alternatives. One particular example is when creating an infinite “ground”—that is, a height map. A height map in 3D is basically a function in two variables: for each value of x and z, it gives a single value y. It is useful to have a method for creating such a function simply, so we can specify an entire ground surface with just a few bits of information. We’ve seen one method for this already, which is to use combinations of trigonometric functions. As we saw in Chapter 16, when several waves are combined, they produce a complex pattern. If we combine these in two directions, we end up with a random-seeming mountainous landscape as in Figure 21.3. A useful side-effect of using this method for generating a random landscape is that we can guarantee the maximum and minimum height of any mountain or valley. If we combine a number of waves, the maximum possible height for any mountain is just the sum of their amplitudes (this maximum height may not be reached, of course). Another advantage is that we don’t need to remember the height map for the whole landscape—the function is fixed in advance, so we can forget about distant areas and draw them at a later stage, without having to store them explicitly.

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FIGURE 21.3 A landscape created using sine and cosine.

Tessellation The main reason for specifying a surface algorithmically is that it enables us to describe a richly contoured and, above all, smooth surface without using an infinite number of points. Of course, in practice our 3D engine can’t display these surfaces like this. It needs to translate the surface into a set of polygons to display in the usual way. But if we’ve stored our surface as a precise, infinitely smooth curve, this enables us to create the polygonal mesh at runtime, a process called tessellation. To tessellate a surface, we begin by calculating the coordinates of a number of points on the mesh, usually uniformly spaced out along the s and t values for a NURBS surface, or along the x and z values for a ground surface such as the trigonometric surfaces described above. These values are then converted to a mesh by joining them into triangles, and depending on the 3D API we can either send them as individual triangles or as a set of vertices and a set of values defining which vertices are to be connected with triangles. For example, DirectX allows you to define triangles as lists of three points, or as a “strip” of triangles, each of which extends the strip by one point, or as a “fan” of triangles emanating from a single point. So given that we’re going to convert our surfaces to a mesh anyway, why not just store them as a mesh and be done with it? There are three principal reasons.

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The most obvious advantage is storage. Just as with the distinction between vector graphics and bitmaps, it generally requires less memory to store a shape as a description than as a pre-defined set of points, especially when the shape is quite simple. Of course, if the shape is very simple then using NURBS is overkill and we may be better off using an even simpler description (“this is a sphere of radius 2”). Conversely, if the shape is very complex, like a character, or if it is naturally composed of polygons, like a jewel, then a polygon-by-polygon description may be more appropriate (although there are still alternatives which may improve things). But in the middle-ground, a NURBS or similar system is likely to save on memory, although it does increase the load-time at the start while the engine builds the model by calculating the formula. Another advantage is scaling: it is possible to choose how detailed your mesh will be, otherwise known as the level of detail or LOD. If your end-user has a fast machine, then you can create a highly detailed mesh with lots of polygons. On the other hand, if they have a slower machine, you can create a simpler mesh with fewer polygons. Either way, the polygons are still calculated by means of the same underlying curves, and this means that they will always be good approximations to the “true” surface. You can even choose to vary the level of detail of the mesh according to how far away it is from the camera—like a mip-map for the model, if you like, and indeed we use the term LOD to describe the different levels of mip-maps too. Many 3D engines can calculate LOD meshes automatically, and may even perform the switch between them according to distance. You can sometimes tell in a game the moment at which a model in the distance changes its mesh to the simpler form. There is a third advantage too, which is that we can calculate the normal at a particular point on a surface generated algorithmically by using the partial derivatives (see Chapter 6). This gives us two vectors tangential to the surface, and taking the cross product of these vectors gives us the normal as shown in Figure 21.4.

FIGURE 21.4 Finding the normal to a surface.

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In the case of a NURBS surface, for example, the partial derivative of the basis functions in each direction can be described by a single polynomial of degree k – 1 (or l – 1), which is constant for each knot span, and we can combine these partial derivatives into a partial derivative for the whole surface function. So for each vertex of our mesh, as well as calculating its position, we can calculate its normal. Similarly, we can calculate the normal for our trigonometric surface. As with Bezier curves, there are also mild advantages for these surfaces in collision detection too, but the complications are fairly large and generally a polygonby-polygon collision detection turns out to be simpler.

ANIMATED SURFACES Given that it’s reasonably simple to create a complex surface in real time, why not go the whole way and generate it from moment to moment, making a surface that can change over time? Cloth and Hair Sex is not the only reason that female characters in games tend to be clothed in figure-hugging bodysuits. Realistic movement of hanging clothes is a very computationally intensive task, and for many years it has been simpler just to avoid the problem. However, as computers get faster, it becomes more feasible to simulate such surfaces, even in real time. The basic trick in a cloth simulation, as well as related models like hair and skin, is to create a system of coupled oscillators, as discussed in Chapter 16. A piece of cloth is essentially a grid of particles mutually connected by springs, as shown in Figure 21.5.

FIGURE 21.5

A cloth simulation.

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We’ve already seen how to calculate the motion of a particle attached to a system of springs, so we’ll take it as read that this can be done (any good physics API will allow you to create virtual springs). However, we still need to consider how best to set up the system. Real-life cloth is usually woven from a set of interlocking fibers, giving it different behavior when stretched in different directions. When a force is applied along the direction of the fibers, either along the “warp” or the “weft,” the cloth scarcely stretches at all, while when stretched along the “bias” or “cross,” diagonally to the fibers, it stretches easily, like a garden trellis, as shown in Figure 21.6.

FIGURE 21.6 Stretching along the bias of a piece of cloth.

So in actuality, cloth is not stretchy at all, instead it is like a set of short inextensible strings arranged in a lattice. But as we’ve seen, these are actually rather harder to simulate than ordinary springs. An inextensible string is essentially the same as an extensive spring with an infinite coefficient of elasticity, but on the computer, setting up such a thing, especially in a coupled lattice, leads almost instantly to major feedback problems as small errors accumulate and the whole simulation spirals out of control. Adding damping doesn’t help, it rather tends to make the situation worse. Instead, we create a cloth simulation which is more like rubber, that is, it is equally stretchy in all directions. Here, we make a lattice as before, using springs with a fairly high coefficient of elasticity, and we also add cross-braces, as shown in

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Figure 21.7. The whole simulation is set up so that the natural length of the springs is the same as their length when the whole thing is flat (or if we want it to be more rubbery, we can set it up so that all the springs are naturally a little shorter than that, so the whole thing is under tension. In that case, we need to brace some of the vertices so they can’t move, or the cloth will spring back when the simulation starts).

FIGURE 21.7 A rubber cloth with cross-bracing.

To make the simulation more like skin rather than cloth, so it is essentially held in place, we can add an additional set of springs attaching each vertex to the underlying surface—these zero-length springs are sometimes called dashpots. We can also simulate hair, or a piece of rope, by a set of springs joined in a chain instead of a surface. With this method, we can create quite realistic cloth which will hang, flap, and even drape (if we include collision detection with the particles at the vertices). The only complication is user interaction, because as we’ve seen before in spring calculations, the mouse has no physical constraints in the simulated world, which means that a user can easily set up situations which are physically impossible, such as dragging a particle on a spring a long way past its elastic limit. One way to avoid this problem is that if you’re allowing the user to drag parts of the cloth around, instead of directly dragging a particle, apply a force no greater than some set maximum on the particle, in a direction determined by the cursor. This will limit the amount by which it can move away from equilibrium. Water There isn’t really a vast difference between water and cloth: just like cloth, we can create a realistic water surface as a series of coupled oscillators. The actual forces un-

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derlying the coupling of the oscillations of nearby points on a water surface are quite complicated, involving a combination of gravitation, pressure, and surface tension, but the end result is reasonably simple, at least until we want to start surfing. An alternative method, though, is to model the waves on the surface directly. As with the trigonometric surfaces we looked at before, a wavy surface can be defined by a series of wave functions, which can be calculated independently: the height at a particular point on the surface is just the sum of all the waves at that point. Depending on how accurately you want to model the waves, you could use various different systems for this. The simplest is just to set up each vertex of the surface as an independent oscillator under SHM. With this model, the various vertices should all move with the same frequency, but can vary in amplitude and phase. The variation might be specified by a function, for example, or perhaps a texture map of some kind. This is the most common form of waving surface used in games (at least based on observation—of course we can’t generally know for sure what system is being used). This system is simple to use and reasonably fast to calculate, but is not flexible, and particularly is not interactive—it isn’t affected by anything else that happens in the simulation. To make more realistic waves, we can actually model them directly. The advantage of this is that the waves can then have different frequencies, and can change over time—so for example we could make the waves increase in strength over time, to simulate different weather conditions. Waves on the surface can be of two kinds, either simple parallel wavefronts moving in a straight line, or circular wavefronts emanating from a point source, such as a pebble dropped in the water. This allows us to create interactive waves that respond to player actions. All these methods create “fake” waves, which for example don’t have crests or breakers. These are caused by a wave moving from deep water to shallow water, where the wave can no longer move symmetrically (because it can’t drop to its lowest negative amplitude) and so its energy is transferred to the top of the wave, making it move forward instead of just up and down. The effect is further complicated by reflected waves experiencing the same thing in the opposite direction. Obviously to model such things is much more complicated than we need or want to waste valuable processing power for in a real-time game, although it can be done by means of the equations of fluid dynamics, and is in fact done routinely for CGI graphics in films such as Titanic or The Incredibles. Calculating reflections and refractions on a water surface to create a realistic texture mapping is also possible, but not something we’ll do here.

BONES ANIMATION We’ll finish this chapter, and the 3D section in general, by looking at how to create an animated character, and the problems this entails.

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Working with Bones A standard method has been used for some time for animating characters, called a bones system. A character is defined by a series of lines representing bones, arranged in a parent-child relationship as shown in Figure 21.8. These bones are fleshed out to create a single model, which can vary over time as each bone is rotated relative to its parent (often, in fact, modelers sculpt the whole character first, then add bones later, but the principle is the same).

FIGURE 21.8 A bones system.

The details of how this model is created are quite subtle, since the surface has to be modeled in such a way that the skin doesn’t distort at the joints when a bone is flexed particularly far. Modern modeling software includes many systems to do this kind of thing automatically, as well as adding automatic muscle bulges and other clever gizmos. But for our purposes, all we need to think about are the bones themselves. Animation is then created either by using a pre-set series of motions such as “run,” “jump,” “fall over,” and so on, often recorded by means of a motion capture system with a live model, or else by directly animating each bone in real-time. The former, being much easier, is the most common system, with the latter being used mostly for ragdoll animations, where the body is simply moving as a set of connected rods under gravity, without any muscle actions. (For this, read “they’ve just been

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shot”—the Half-Life engine, for example, can switch to ragdoll physics when a character is hit, so that they collapse according to the point of impact.) Even creating a realistic ragdoll figure is very difficult, because our joints are constrained in various ways: the human body includes “ball-and-socket” joints such as the shoulder, which can swivel freely in two dimensions, with limited motion in the third, and simple hinges like the elbow, which can rotate only in one dimension (the twisting motion of the forearm is achieved by using two separate bones rather than by motion in the elbow joint). These constraints, again, can be programmed in with standard modeling packages, but require significant computational effort to achieve in real time. However, these niceties aren’t generally too noticeable in a game context—especially when the character in question is flying under the impact of a high-velocity bullet. Making a ragdoll character is essentially an exercise in kinematics—the ballistic motion of series of bones. The calculations involved are fairly extensive (a combination of rigid-body motion and 3D collisions) but solvable numerically—at each time-frame we can calculate all the various momentum and energy values and move the bones accordingly, just like any other physical simulation. As an example, consider the simplest possible situation, illustrated by the 2D diagram in Figure 21.9. The system consists of two bones, connected by a single “pin.” Let’s suppose that for each of the two bones, we know the current linear and angular velocity ui, \ i, and the mass and moment of inertia mi, Ii (in 3D we’d need to know the moment of inertia about all three principal axes). For each bone, we’ll suppose the pin is currently at a vector x i from the center of the limb. All the motion occurs in two dimensions, but without any collisions—the various limbs can be supposed to pass over or under one another.

u1 u2 ω1 x1 x2

ω2 FIGURE 21.9 A simple ragdoll problem.

438

Mathematics and Physics for Programmers x x ) It’s convenient to think in terms of the values ri = x i and t = ( r , respectively the distance of the pin from the center and the clockwise vector tangential to the center, through the pin. The pinning of the various limbs implies that at all times, the local velocity of these points of contact must be equal. We can calculate the local velocity of a particular point as a function of the motion of the limb: T

i2

i1

i

i

w i = u i + di\ i t i So, at any time this value must be equal for all pairs of bones at a particular pin. This gives us a set of equations for the new linear and angular velocities vi, Oi: 2

2

2

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end, and the second bone is joined to the other end, as shown in Figure 21.10. Suppose we want to reach the point P—that is, to touch it with the end-point of bone 2.

P FIGURE 21.10

A simple IK problem.

As you can see, in this case, finding the correct final configuration to meet P is reasonably easy: it’s a simple application of the cosine rule, since we know the lengths of all three sides of the appropriate triangle. Having said that, even in this case there are some complications, because as well as finding the end-point, we need to work out the best route to reach it. Ideally, we want to minimize the amount of movement required to get from our initial configuration to the end—we don’t want to do something like the motions in Figure 21.11.

1 2 3

4

5 FIGURE 21.11

A poor solution to the IK problem.

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Mathematics and Physics for Programmers

One way to deal with this question is to create the complete motion path, by attempting to move smoothly so that the end of bone 2 follows a simple line from its starting point to P, as shown in Figure 21.12. The advantage to this approach is that each movement is small and gets us progressively nearer to the goal, which means that some kind of iterative method might well be successful. If the end-point is reachable then this approach will always give a possible solution in the two-bone problem, but it may not be physically plausible when dealing with real characters with limited movement in the joints.

FIGURE 21.12

A better solution to the IK problem.

In case this seems to be overstressing the difficulty, remember that when there are more than two bones involved, typically there are an infinite number of possible configurations which solve the IK problem. Choosing the appropriate path for

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the bones is non-trivial. To repeat: the best solution tends to be some kind of iterative approach, where the bones try to orient themselves toward the target a small amount at a time. One simple method, for example, is at each time step to just rotate each bone a little more toward the target, in proportion to how far away from the target it currently is (see Exercise 21.2). The same approach works well in three dimensions too, although it’s harder to make it work realistically because there are more degrees of freedom. However, it’s less successful when dealing with a system of bones that is not just a simple chain, or when you need to worry about collision avoidance.

EXERCISES Exercise 21.1 Create a program that will draw a 2D NURBS. Your program should allow you to experiment with moving the control points around, changing the knot vector, etc. If you’re feeling brave, try extending to a 3D NURBS surface. Exercise 21.2 Create an iterative function IKapproach(chain, target) that will adjust a simple IK chain to hit a specified target. Your function should take a chain of bones (specified in whichever way you prefer) in a particular configuration and move it toward a particular target by some small amount. When applied successively, it should adjust the chain to hit the target.

SUMMARY We’ve concluded the section on 3D techniques to look briefly at a few methods dealing with surfaces, mostly in fairly broad terms. You have seen how we can use mathematical techniques to define a complex surface using various methods, especially B-Splines, and how to use this to make a surface with an adjustable level of detail. We’ve also looked at animated surfaces and bones systems. We now leave the subject of 3D to spend the rest of the book looking at some algorithmic techniques, especially in the context of games.

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YOU SHOULD NOW KNOW how to define an object in 3D in terms of a surface of revolution, NURBS or trigonometric function how to use these mathematical descriptions to draw the object at different levels of detail how to animate a surface to simulate water or cloth how to create a bones system and use it to make a ragdoll simulation how to solve a simple IK problem in two dimensions

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Game Algorithms

ost of the mathematics we have looked at up to now have been quite general—they relate to real-world physics and geometry, and how to simulate it on the computer. But for the final part of the book, we will look at some mathematical ideas specific to computing, and games in particular. As before, we’re only going to cover these concepts briefly, since each is a huge topic; but this introduction should help you to know where to look when you encounter these issues in your work.

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We’ll begin by looking at some techniques for optimization and simplification of physics calculations, particularly collisions. Then we’ll spend two chapters on game level design, looking at tile-based games and mazes. This leads us into discussion of pathfinding algorithms, which in turn takes us to the topic of artificial intelligence. Finally, we’ll look at some techniques for using the computer as a problem-solving tool, for searching through data and creating puzzles.

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In This Chapter Overview Cheap and Expensive Pseudo-Physics Culling Exercises Summary You Should Now Know

OVERVIEW Throughout this book, the emphasis has been on the mathematics and physics behind the code, and we’ve been stressing the fact that all our code examples could be made to run faster by sensible optimizations. This chapter is the only one where we’ll be breaking that rule: we’re going to look at some techniques for speeding up your code by the use of pre-calculated values and segregation of space. Code samples from this chapter are implemented in math.cst in the script Chapter 22 (optimization).

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CHEAP AND EXPENSIVE The principal key to speedy code is an understanding of which kinds of calculations are computationally “cheap” and which are more “expensive.” We’ll start by discussing how this can be measured, and looking at some ways to replace the expensive algorithms with cheaper look-up tables. Computational Complexity The length of time an algorithm takes is called its computational complexity, expressed in terms of the size of the function arguments. For example, the process of incrementing a number stored on the computer by 1 is essentially independent of the size of the number, but it would be pointless to use this method to add two numbers together: function sillyAdd (n1, n2) repeat for i=1 to n1 add 1 to n2 end repeat return n2 end function

The length of time this algorithm takes is roughly proportional to the size of n1: as this value becomes very large, the length of time for simple operations like storing the value n2, returning the answer and so on becomes increasingly irrelevant. So the algorithm is linear, having an order of 1, which we write as O(n), which will make more sense as we go along. A much more efficient algorithm for adding two numbers is the method we use in school—specifically the binary form we looked at in Chapter 1. Here, if we assume that n2 is fixed, the time taken by the algorithm is mostly dependent on the number of digits in the binary representation of n1, which is roughly proportional to the logarithm of the number, so we say the algorithm is O(log(n)). The larger our numbers get, the faster this algorithm is in comparison to the sillyAdd() function. Notice that we don’t care about the base of the logarithm, because this only multiplies the length of time by a constant: this may be important for small values in the function, but is irrelevant when dealing with very large numbers. While this makes sense mathematically, it’s a little misleading when dealing with practical computations, which are just as likely to involve small numbers as large ones: if your function is proportional to 1000000n and you are comparing it to another that is proportional to n2 then for large numbers, the former is far more efficient, but for smaller ones you’re better off using the “less efficient” algorithm. So take complexity calculations with a pinch of salt.

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The same warnings apply to “benchmark tests,” where a particular calculation is calculated a large number of times with different methods in order to evaluate their speeds. These benchmarks need to be considered carefully in order to put them into context—after all, how often do you need to perform the same calculation a million times in succession? Usually, a calculation is a part of a larger process, and this may affect the value of the different algorithms. For example, one process may be significantly faster but involve higher memory usage—a common occurrence since one of the principal ways to speed calculations up is to use look-up tables as we’ll see. Another process may take slightly longer but produce a number of other intermediate values which are useful later and reduce the time taken by another process. Having said all this, complexity calculations and benchmark tests are an important tool and shouldn’t be discounted. The most common kinds of algorithm are: Polynomial time calculations. These have a time which is some power of n. We’ve already seen linear and quadratic calculations, but generally all kinds of polynomial time algorithms are similar, and worth aiming for. It’s often the case that the rate of a polynomial calculation depends slightly on the “grain size” of the problem: a problem that’s ostensibly quadratic may turn out to be cubic if one takes into account machine-level operations. Exponential time calculations. These take a time proportional to en, and are to be avoided at all costs since they get slow very rapidly as n increases. An example is a recursive algorithm which tries to fill in a crossword from a list of words by placing one word, then filling the remaining crossword (the final chapter of this book looks further at algorithms of this kind). Logarithmic time calculations, such as we saw above. There are also combinations of logarithmic and polynomial time, such as the “long-multiplication” algorithm, which has an order of nlog(n). Logarithmic time is much faster than polynomial time and generally worth striving for. Constant-time calculations: the Holy Grail of algorithm creators. These are few and far between, but one example is the concatenation of two “linked lists,” which are chains of data implemented by each member of the chain knowing its own information and a pointer to the next link. To join the lists together, we simply link the last link of the first chain to the first link of the second, which is theoretically independent of the lengths of the chain (in practice this isn’t quite achieved, but close to it). Using Look-Up Tables When dealing with computationally expensive calculations, one solution is to use a look-up table, which is simply a list of values of the function pre-calculated over a

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However, there is a problem with this approach, which is, of course, rounding errors. The errors that accumulate when performing multiple calculations with floats are even more prevalent when you are restricted to integers. This means that we have to be quite clever in order to ensure accuracy is maintained, which generally means trying to find algorithms which rely only on the initial data, and do not build calculations on intermediate values (we’ve already discussed this briefly when looking at ballistic motion calculations). It’s easiest to explain this by means of a concrete example, so we’ll look at a common problem: suppose that you want to move from A to B along a grid of squares as in Figure 22.1. We want to find the set of squares which most closely approximates a straight line. This is the problem that painting software faces every time it draws a line as a sequence of pixels with no gaps.

FIGURE 22.1 Approximating a straight line on a square grid.

The best method known for this problem is called the Bresenham Algorithm, which is illustrated in Figure 22.2. Suppose we are drawing a line between two points P1 = x1 , y1 and P2 = x2 , y2 , where we say for the sake of argument that x2 > x1, all the values are integers, and the gradient m of the line, measuring y downward, is between 0 and –1 (we’ll fix these assumptions at the end). In the figure, we have focused on the start of the line. The pixel at point A is filled in, and because of our assumptions about the gradient of the line, we know that the next point we’re interested in is either the next pixel to the right (R), or the pixel diagonally upward (D). Which one we want to fill in depends on the slope of the line: in particular, if the point marked P1 , above the point x1 + 1 , lies above or below the line between R and D.

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P3 D P1 A

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FIGURE 22.2 Bresenham’s algorithm.

We can continue this process step by step, moving either right or diagonally at each point depending on whether our line at the midpoint is above or below the half-way line: you can see that all the squares we will fill in are lightly shaded in the figure. So all we need is an efficient way to calculate whether the line is above or below our test position at each step, such that only integer values are involved. a Let’s rewrite m as b , where a = y2  y1 and b = x2  x1 (note that a and b are both integers). Then our line equation y = mx + c becomes by  ax  bc = 0 , with bc found by substituting the coordinates of A into this equation, so bc = by1  ax1. So we can define a function L x , y = by  ax  bc. For any point (x, y) above the line, L x , y < 0 , and for any point below the line, L x , y > 0 . What we’re going to do is create an iterative method of solution, which is the opposite of a recursive algorithm. An iterative algorithm works by defining two elements: what we do on the first step, and how we get from any particular step to a subsequent step (for example, an iterative algorithm for climbing a flight of stairs might be “go to the bottom of the first step; then for each step, walk onto the next step until you reach the top”). In this case, we’re going to create a series of midpoints given by P1, P2 , p1 , …, each of which is determined based on the previous one. For each one, we calculate the value of L Pi+1 based on the value of L Pi . So now consider the first step, where we are moving from x1 , y1 . In this case, the midpoint we’re interested in is P1 = ( x + 1, y  1 2 ) , and we want to know if L P1 = by1  b 2  ax1  a  bc < 0 . Substituting in the value of bc, we get L P1 =  b 2  a . To keep everything in integers, we can multiply the inequality by 2 (which does not affect the result). If the inequality is true, then we move diagonally, otherwise (almost always) we move right.

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Now that we know this, we can think of what we do at each further step. The situation breaks down into two cases (refer to Figure 22.2). If at the previous step we moved right, then the midpoint we’re interested in has the same y-coordinate as before but an x-coordinate that is one greater. If we moved diagonally, then the ycoordinate has to decrease by 1. So in the first case, if the last midpoint Pi we checked had coordinates xi , yi and we moved right, then we know that Pi+1 = xi + 1, yi , so we move right again if L xi + 1, yi < 0 , diagonally otherwise. This gives the inequality byi – axi – a – bc < 0. Notice that this is the same as L xi , yi  a < 0 . In the second case, having moved diagonally, Pi+1 = xi + 1, yi  1 , so we have byi  b  axi  a  bc < 0 , or L xi , yi  a  b < 0 . Again, we multiply everything by 2 to ensure that we are still in integer territory. So the code for the algorithm is fairly simple:

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function drawBresenham(startCoords, endCoords) drawPixel(startCoords) set x to startCoords set y to startCoords set a to endCoords-x set b to endCoords-y set d to 2*(a+b) set e to 2*a // calculate 2L(P1) set linefn to -2*a-b // perform iteration repeat for x=x+1 to endcoords if linefn
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