Growing up as the son of a Civil Engineer, I was fortunate to have access to a proper HP pen plotter. That thing was AMAZING!

A surge of nostalgia and a drawer full of various bit of electronics, Arduino and motor parts and I was quickly putting together a pen plotter design.

There are many DIY plotter builds out there, ranging from those that reuse part of old disk drives to some really professional looking designs. I’m quite keen on building my own. It will be a fun, learning experience and I also have some particular requirements:

– It needs to fit fully inside an A4 page. That’s so that I can plot on any notepad I have, including those with spiral binding.

– It needs to have multiple pens! My diagrams use colors. I need to reproduce those colors!

The first requirement isn’t too bad. Most of the parts are quite small so I’m sure I can fit everything inside an A4. The print are will probably be quite small. I was hoping for A5 (half an A4), but i think it will be smaller.

The multiple pen caddy is a nice problem to solve! I had already started designing a 3 pen version when I realized that it’s not enough. I was thinking of red, green and blue, but I’ll also need black. Moving to a 4 pen design make things a bit more difficult, things are taking up more space, but it’s still doable. The bigger problem is how to switch from one pen to another.

I’m planning on using a spinning disk to lift/lower each pen in turn. As the disk turns it will lower one pen while lifting the next. At any one time only one pen will be down. The disk will be rotated using a servo motor, which allows precise control of its angular position. This would also let me do a half rotation, which would effectively lift all the pens off the paper to allow for repositioning.

Alas, moving to a 4 pen design creates a design flaw. With 3 pens you can move from any one pen to any other without ‘passing by’ another pen first. So, let’s say you have red, green and blue pens, you can move from the red to the green without ever lowering the blue one.

With 4 pens you can’t do that. To move from pen 1 to pen 3 you have to lower pen 2 first! This will end up putting a dot on the paper when there shouldn’t be any!

I’m now working on adding a proper z axis motor, to lift the whole caddy up/down. This means that I won’t have to program in a half turn to keep all pens off the paper and it will allow switching from one pen to another without any extra ink marks.

I’ve already gone through a few iterations of the design, but it’s not finished yet. Kudos to Fusion 360 for being such brilliant software to use!

Initial design with a massive caddy. This was too big, it would reduce the print are down to a post stamp!

A smaller design, but still not quite happy with it.

This is the current favourite!

More pictures and build progress notes to follow!

]]>Last week was British Science Week and like every year my wife and I both volunteer to run an activity at the local Primary school. The theme this year was ‘Exploration & Discovery’ and I thought it would be fun to introduce Year 4 children (ages 8-9) to the basic principles of GPS. The focus was on trilateration, i.e. draw three circles, see where they intersect.

The activity itself was quite simple: “A few explorers have found themselves lost somewhere around the UK. Their GPS devices are malfunctioning and do not report their exact position. They only show their distance from a few satellites. Can you use trilateration to help locate them?”.

Preparing the material for the activity seemed quite simple at first, just print off a map, mark the location of the satellites, pick the location of the explorers and measure some distances. In practice though, there were some complications.

My original idea was to have the explorers lost in different cities around the world. For that I would need to get hold of a world map…but what projection method do I use? As you may be aware there are many different ways to project a sphere onto a 2D plane, each with different properties. Some are designed to preserve areas, some to preserve distances, and so on. Fun fact, did you know that Google actually came up with their own projection method to use on Google Maps? It’s called Web Mercator and it’s a variant of the Mercator projection method. Unfortunately one of the properties of this projection is that converting straight line distance measurements (e.g. what you’d measure using a ruler) to true, i.e. great circle, distance is not trivial because the distortion changes with latitude.

One alternative would be to use a Gnomonic projection where great circles are represented as straight lines. That would work, but it makes getting hold of a map a bit more difficult.

In the end I decided to restrict myself to just UK (in fact just England and a bit of Scotland). The small extents of the area make the projection distortions largely irrelevant and makes city and town names easier to read when printed off on A3 paper. I *could* have just printed off any old world map and let the kids draw cirlces on that and it wouldn’t have impacted on the learning outcome of the activity, but I felt I should *try* and present correct information.

With the map area selected it was then time to pick the locations of the explorers and from that determine suitable satellite positions. To make the activity a bit more fun I wanted to pick cities and towns the first letters of which would spell out a word meaningful the kids of that particular school. This required me to pick 9 locations, each starting with a particular letter of the alphabet. To avoid confusion I had to avoid locations with more than one word (e.g. Isle of Man) and prefer somewhat isolated locations to allow for errors when the kids draw the circles.

This gave me the following locations:

With the locations set all I needed to do was figure out the satellite positions. This would be really easy, just pick any 3 spots on the map and then make a list of distances to each of the explorer locations. Alas, this would give me distances with decimal points. Location i from satellite j might 11.2 cm away. In a calm & quiet environment, on a one-on-one setting, providing help and supervision I’m sure I can get an 8 year old to draw a circle 11.2cm in radius. A group of 10+ of them though, probably not!

Let’s make things easier and require that all locations are an integer number of cm away from at least 3 satellites. Drawing a circle at whole numbers shouldn’t be too difficult, provided you have the right instruments.

How do you get an 8yo to draw a circle? Assume they don’t have a drawing compass (either for health & safety reasons or because there aren’t enough to go around).

My first thought was a piece of string. Tie a small loop around one end, that’s where the pencil goes. They measure the length using a ruler, hold the other end at the center with their thumb and draw the circle. Simple! Couple of problems…for starters with normal (rather than mechanical) pencils the string kind of bunches up under the pencil lead and you end up scraping it along the paper without the lead making contact.

You can move the loop higher up the pencil so that the string doesn’t bunch up under it….but then there is no guarantee that they’ll keep the pencil vertical, it will most likely swivel around the height at which the string is sitting on, causing the radius to fluctuate.

You could put an attachment of sorts at the end of the string to stop it bunching up while also keeping the string near the paper, but there is anoter, more fundamental problem. A string only enforces half of the circle constraint; that no point will be further away that the radius. As the kids are tracing the circle through they don’t maintain the tension on the string and they end up drawing something like an inwards spiral! We need something rigid, so that both halves of the contraint are honoured.

I did a few experiments with 3D printed bits and bamboo skewers (which by the way don’t have uniform thickness) and looked online for cheap rulers (I needed 30 of them), but in the end I went with a simple low-tech solution. I drew out a 22cm ruler at 1cm increments and had printed onto the thickest card my local print shop could do. I then punched holes at each 1cm mark. To draw a circle the kids would put one pencil through the 0cm hole (the center), another through the X cm hole and then just trace through. The card had just about enough rigidity to stop them moving inwards, though if I had to do it again I’d glue each ruler onto a second layer of card. It was a simple, cheap, disposable solution with the main downside being that it involved a fair bit of manual labour on my part (23 holes x 30 rulers).

So, 9 locations, 3 satellites per location, at integer distances. That’s a lot of satellites! I *could* create 9 sets of maps, each with just 3 satellites, but that would make the logistics of printing and running the activity more difficult. More importantly, that would not be *the way of the programmer*, certainly not one with a few evenings to spare before the activity day! Let’s think this through…how can we work out the least number of satellites that each have an integer distance away from as many locations as possible?

My first instict was to fire up Visual Studio and start writing from C++ code to do all the number crunching. Then I remembered that I’m a graphics programmer and that I have a programmer friendly, JavaScript based, 2D visualisation framework all setup!

For each location, we can visualise the valid satellite positions by drawing concentric circles, 1cm apart. Take any pair of locations and where their circles meet, that’s a satellite location that is an integer distance away from both of them. Drawing a 1mm radius dot on each intersection allows us to factor in a bit of tolerance. Placing a satellite anywhere inside the dot will give us *near* integer distance to the locations.

At this point I started thinking I might be able to get away with a purely visual solution. Just draw a black disc at each intersection point, but use a low alpha value, something like 0.1. Each disc represents a point that is integer distance away from 2 locations. Where more than one disc overlap, ever partially, then we have a point that is an integer distance away from 2, 3 or 4 locations. The more overlapping discs the darker that pixel would be. Let’s see what that looks like :

Ok, that’s pretty good. We can see that there are some fairly dark spots, indicating good candidates for satellite locations. It was encouraging to see that there are indeed more than a few suitable points as I was worried that I wouldn’t get enough points unless I increase the tolerance by quite a bit.

I could have stopped here. I could save out the canvas, put it in Photoshop and do some image space manipulation. A bit brightness & contrast adjustment would isolate the most suitable candidates. It would however be a very manual process. To get the satellite positions I’d need to note down the pixel coordinates in the image and convert those back to diagram coordinates. I’d also not have any correlation between the positions and which locations they are an integer distance away from. I could easily find that out by measuring, but the whole process felt a bit manual.

I decided to press on and look for a more analytical solution. The image based approach had served its purpose, showing me that there is a viable solution. It also gave me the idea to just brute force this. Given a position on the map, calculate its distance to each of the explorer locations. If the distance falls inside the min/max values of the ruler and it’s within a certain tolerance of an integer value (1mm) then we have a candidate. Loop around all the explorer locations and keep track of how many meet the distance criteria.

This gave some good answers! Searching the entire map at 1mm interval shows that there are lots of positions that are an integer distance away from at least 5 of the explorer locations. Increasing the limit to 6 locations however only gives 3 satellites, which isn’t enough. We need 3 satellites per location. Reducing the search spacing to 0.1mm (making even more of a brute force!) reveals that there are in fact 7 satellite locations that each is an integer distance away from 6 of the locations. Furthermore, a visual inspection reveals that each location is covered by at least 3 satellites (and most by 4) so it’s a viable overall solution as well! Perfect!

Well almost…brute forcing this at 0.1mm intervals in JavaScript is quite slow. The A3 page that I’d be using has dimensions of 29.7cm x 42cm, giving a whopping 12.4 mil checks. Technically it doesn’t matter, it was meant to be more or less a one-off activity, so waiting a couple of seconds to get the satellite locations wasn’t that big a bother. But it did make the map navigation quite sluggish and it felt like I could do a bit better.

Taking a step back, given two explorer locations we can pick any two integer radius values and draw circles around them. The circles will generally intersect at two points. We know those two points are an integer distance away from the two locations we picked. How about the rest of the locations? Maybe they happen to be an integer distance away from some other locations too.

So, we can improve the brute force check with an algorithm like this:

For every pair of locations: +- For every pair of integer radius values in [minRadius, maxRadius] range: +- If the sum of the radii is less than the distance between the location ->skip. +- For each of the 2 intersection points: +- Loop through all other locations: +- If the distance of the candidate point to the location is near integer -> keep the point

This gives the following:

That’s pretty good! We get good answers at a fraction of the cost. You may notice that we have less satellites with 6 locations each than the super-fine (0.1mm) brute force approach. That’s because the above algorithm picks the first point with zero tolerance (it’s the intersection of the two circles) and I think that’s missing out some near by good candidates.

At this point I decided to call it a day. I could improve the algorithm to do a bit of a search around those first couple of points, or better yet come up with a more direct algorithm altogether. However I was running out of time as I still needed to do all the printing, cutting, hole punching, etc as well as perpare a PowerPoint presentation!

I’m happy to say the activity went very well! All the children seemed to enjoy the presentation and they all managed to trilaterate at least 2 explorers in the 15 minute practical I had with each group. Hopefully the whole experience served as extra encouragement towards S.T.E.M. subjects.

]]>There are still some improvements to come. Now that the UI is looking reasonable and has a few usage tips, I’m going to focus on making some usability changes on the drawing itself. There is a lot of functionality (typically accessed via keyboard modifiers) that isn’t very obvious. The overlay rendering (snaps, visual hints, etc) aren’t very nice either (again, programmer art!). Some of these I will address by having nicer, more intuitive graphics, and others by providing example and tutorial scenes.

]]>Rendering engines often use cubemaps to store some form of lighting. There are a myriad of techniques that use them ranging from static to dynamic, direct and indirect, diffuse and specular lighting and so on. In this post we’ll try to illustrate some of the common steps in capturing, filtering and using cubemaps to achieve some form of lighting.

Let’s start with the cubemap capturing process, using the a simple environment (full of awesome programmer art) below. I’ve added a few random colorful objects just to make things a bit more interesting!

Next, let’s define our cubemap’s boundary as well as the capture point. It’s quite common to have the capture point being at the center of the cubemap, but it’s not always necessary to do so. In some cases the center of the cubemap might lie inside some scene geometry so moving it a bit further away would help. You can use the Shift + mouse drag to move the capture point.

With the cubemap in place we can start thinking about how to populate it. We need to decide what values to store on each texel and how we’ll calculate them. The choice of content will have implications the cubemap texture format, bit depth and compression method, but for now we’ll focus on illustrating the capturing process.

The simplest capture we can make is to simply record the color value of the scene at each texel location. We can visualise this by firing a ray from the capture point to the center of each texel. Have a go at doing this by moving the mouse cursor through the diagram below.

In a real rendering engine we probably wouldn’t be firing rays from the capture point, but rather setup 6 cameras (for a 3D cubemap), each pointing at the center of each cube face, with a 90° field of view and a square aspect ratio. We’d then render the scene from each camera and store the results (e.g. render to texture) on each cube face.

But what is it we’re capturing? In the case of the diagram above when the ray hits an object we just copy that object’s color into the cubemap texel that corresponds to that direction. In that case we have assumed that the entire object has a constant color, i.e. it’s the same across the entire surface and doesn’t vary with the incident vector. This would be the case if all the objects in the scene were purely emissive.

A more realistic model would be one where the color we capture is based on the lighting that affects the object as well the material properties and shading model (BRDF) of the surface at the point where the ray hits.

Take a look at the example below. The scene is illuminated by a single point light and we’re interested in a single point of the ceiling, P. The surface properties at P indicate that the any light arriving there is not reflected equally in every direction (as would be the case for a purerly Lambertian surface). Instead there is a predominant reflection vector where the relfection intensity is highest and it falls off on vectors further away from it. If point P was captured by the two probes shown below, they would each get a different color value since the amount of light reflected along each of the probe rays is different.

One implication of this is that the lighting stored in the cubemap is only correct at the capture point. The further away we are from the sampling point, the more incorrect the stored lighting becomes.

So what does that mean when capturing a cubemap using a render-to-texture camera? A first attempt would probably be to use the normal rendering pipeline to render the scene from the probe’s point of view. This means that the usual lighting shaders would be used, which, presumably, would do both diffuse and specular illumination and therefore produce results similar to the ‘raytraced’ examples above. That’s not necessarily a problem but rather something to be aware of.

What’s more important to be aware of is any image post processing the normal rendering pipeline performs. A typical linear lighting pipeline would include some tonemapping and gamma correction that transforms a linear HDR buffer to an sRGB LDR one. That’s fine when it comes to showing images on screen but probably not when doing a cubemap capture. We’d generally want to keep the lighting values in linear color space and in high precision and only do any transforms necessary to take them to whichever storage format we wish to use.

At this point it should also be obvious that the process described above captures *indirect* lighting. Lights aren’t rendered directly into the cubemap, but rather the light that bounces off the surfaces of the scene is. We’re capturing both diffusely and specularly bounced lighting. That has nothing to do with how we’re going to use the cubemap (e.g. to provide indirect diffuse or specular illumination), it’s just to clarify that both types of bounced lighting are captured. The contribution from emissive surfaces would also be handled in the same way.

So now we have a cubemap that has been fully populated to contain the incoming radiance along the direction vector corresponding to each texel. In its current form it cannot really be used for any form of indirect illumination, at least not in a PBR pipeline. We need to do some preprocessing first. More specifically we need to apply a bit of intelligent blurring!

Earlier we saw how the BRDF of a shading point tells us how much of the lighting coming from a particular direction is reflected in any other direction. In a sense it tells us how light going *into* the surface is *scaterred* outwards. We now want to do the reverse, given a particular *outgoing* direction, we’d like to know how much light we can *gather* from each direction along the hemisphere.

In the scene below the shading point is illuminated by 3 discrete lights. The BRDF will give us the contribution of each light along the orange vector pointing towards the camera. Summing these up (i.e. integrating over the hemisphere) will gives us the total amount of light in the direction of the camera vector.

We’ll use the same principle to gather the contributions from each of the radiance cubemap texels to calculate the total illumination (irradiance) along a given viewing direction. The diagram below illustrates this process. The mouse cursor controls the view direction and the colored lines are the contribution of each radiance texel based on the BRDF. The sum of these contributions represents the irradiance on that surface and we store it on a texel of a separate, irradiance, cubemap.

In a sense this is the same as having a chrome sphere positioned at the capture point and having the camera looking straight down on it along the direction of the mouse vector. The roughness of the sphere will have a significant effect on the reflections, the rougher the surface, the blurrier the reflections.

You can use the controls below to change the BRDF properties. Click the Populate Irradiance button to fully populate the irradiance cubemap, which will show a disc that simulates sampling the entire map. Have a play with the roughness slider using the Phong BRDF to see how the reflections change. Also note how when using the Lambert BRDF the roughness doesn’t make a difference.

It’s worth noting that the above *gather* operation was done by pretending there was a flat white surface element oriented along the mouse vector and we have a camera looking straight down on it, i.e. the normal, N and the view vector, V are aligned. The importance of this will be explained further down.

We’re almost there now! We have an irradiance cubemap that was generated using a particular BRDF. If have an object located at the capture point and that has the exact same BRDF as we used to generate the cubemap and it’s facing along the camera view vector, then we’re all set! However, chances are at least one of those things won’t be true. The object, or rather the shading point, probably isn’t at the capture point, its BRDF isn’t exactly the same as the one we did the integration with and its orientation probably isn’t along the camera vector. We need to either account or accept all these differences.

We already came across the issue of sampling a cubemap away from the capture point when discussing the capturing process. Sampling away from the capture point suffers from incorrect specular radiance being used, incorrect occlusion and incorrect parallax. Of those, incorrect occlusion is probably the most noticable (reflections being picked up when they should have been occluded). There is no straighforward solution involving just the cubemap alone. Often additional structures are used to capture the occlusion information and/or use alternate cubemaps.

Incorrect parallax on the other hand is fairly straightforward to fix in some of the simpler cases and involves simply some bounding box information. We’ll cover this in a future post.

The incorrect specular radiance is something we can just probably live with.

The other issues occur when the BRDF of the surface we need to shade isn’t the same as the BRDF we used for the radiance integration and when the surface orientation is not aligned to the view vector. There are couple of very good SIGGRAPH papers that describe a split-sum approximation the lighting integral for image based lighting (Karis13, Lazarov13, Lagarde14). As part of that approximation we integrate the radiance for a particular roughness and a look up table provides a runtime scale and bias factors based on roughness and viewing angle. In terms of precomputation all we need to do is perform the cubemap integration for a range of roughness values.

One approach would be generate a unique cubemap per discrete roughness value that we need to support (roughness is typically expressed as a scalar in the [0,1] range). However it’s worth noting that with increasing roughness the cubemap becomes more and more blurry and we therefore need less texels to capture it accurately. One conventient approach then is to store the irradiace of each roughness at the mip of a mipmapped cubemap. Mip 0 (the highest resolution) stores the lowest rouhgness (i.e. the least blurry) and subsequent ones store increasingly higher roughness values. This also has the advantage that we can leverage trilinear filtering to interpolate between mip maps giving us a continuous range of roughness values.

While the emphasis has been on indirect specular illumination using the cubemap, all the principles described here are equally applicable to diffuse illumination. Computing the irradiance cubemap using a Lambert BRDF (basically a cosine lobe) would result in a cubemap suitable for that. As described in this great paper by Ramamoorthi however, a Spherical Harmonic is a much more compact and efficient way of achieving the same result. One potential exception to this is using the last mip (lowest resolution) of the specular cubemap mip chain to store the diffuse irradiance. Then a single cubemap can be used for both diffuse and specular indirect illumination.

There is still a lot to cover of course but hopefully these diagrams have given you a better understanding of what’s involved in capturing and using a cubemap for indirect environment lighting. Feel free to post questions and topic requests in the comments below!

]]>A Signed Distance Field is a mathematical construct where the distance to a closed surface is computed along a set of positions, with the sign of the distance used to indicate whether the position is inside or outside the surface. The positions are typically chosen to be on a regular grid and they work well in both 2D and 3D. They were made popular in computer graphics by this SIGGRAPH 2007 paper by Valve. If you haven’t already read it, it’s definitely worth a read!

In this post we’ll investigate using a simple 2D SDF to approximate a shape. It’s by no means the only use of SDF, but it’s one that’s easy to visualize and has practical use in computer graphics.

We’ll start with the surface shown below. It’s a closed surface so that we can tell whether a point is inside or outside its perimeter.

Next, we’ll overlay a regular grid over the surface. As you might expect, the size of the grid is important, the finer it is, the better the approximation will be.

For each grid cell, we can calculate the distance of the cell center to the nearest point of the surface. We’ll represent that with a circle. We’ll also indicate whether the cell center is inside the shape or not by coloring in the circle. Note that we only store one value per cell, calculated at its center, so while a cell may overlap the surface boundary, we only care about its center.

Go ahead and move the shape around (shift + mouse drag) to see how the cell distance values change.

Note that for reasons of clarity I’m only showing the circles that have a diameter of about one cell. The other cells are computed as well and their values will be used later on for the approximation.

Ok, so now we have a regular grid where we store the distance to the shape boundary as well as a bit that tells us whether we’re inside or outside the shape. How can we use that information to reconstruct the original shape?

Let’s have a look at the diagram without the original shape.

Imagine we throw a dart onto the grid. If the dart lands exactly at the center of a cell we’ll accurately know our distance to the shape outline and whether we’re inside it or not. That information will only be accurate if it lands exactly at the center because that’s where we evaluated the distance and sign. If the dart lands anywhere else (and chances are that it will) then we’ll need to make an approximation by interpolating between the 4 nearest cells.

Let’s see what that looks like! Move the mouse cursor over the image.

We’re nearly there now. We have a way of estimating the distance to the surface at any point inside the grid. All we need to do now is visualize all these estimates somehow.

We could for example paint anywhere where the distance is ≤ 0 to shade the interior of the shape. In the diagram below we’re drawing an approximation of the outline of the surface by painting anywhere where the absolute distance is within a threshold. The threshold value controls the ‘thickness’ of the approximate outline.

Have a play with the controls to see what effect it has on the approximation. Use shift + mouse drag to move the shape within the grid.

So what’s the point of all this?

Let’s compare a low resolution SDF of a surface to a same resolution texture that stores the surface color.

You can see that despite being the same, low, resolution, the SDF representation can provide a very high resolution outline of the shape compared to the very pixelated result of the texture approach. Before jumping to conclusions, we need to understand that we’re comparing apples to oranges! The SDF is a high level representation of the shape surface. The image is a capture of the surface color (and alpha). We may use both representations to achieve visually comparable results, but they’re fundamentally different things. Both representations need to be evaluated per pixel.

In the case of the texture this evaluation gives us the interpolated color values, producing the gradients at the edges of the pixels. The image can store different/arbitrary colors per texel, that don’t have to conform to any particular function, but the look of texture is (generally) fixed (e.g. we cannot easily add an outline). Color and opacity can be stored and handled independently.

In the case of the SDF the interpolation is giving us a smooth approximation of the distance to the surface of the shape. We’re free to translate that into a pixel color value using a function selected at runtime. The same SDF can be used with multiple functions to produce different results. However, unlike in the texture case, the entire SDF has to go through the same translation (i.e. it’s not trivial to produce a different color for an arbitrary part of the surface). This translation is a high resolution operation, so we don’t get any pixelation artifacts. Instead, the effects of the low resolution are seen on the accuracy of the approximation. You can see that the sharp corners of the original shape have disappeared and been replaced with rounded points instead.

Looking at the SDF we’ve created so far it should feel quite intuitive that we would store it in a low resolution texture. Ignoring format considerations for now, we’d store the distance and the sign at each texel. At runtime we can evaluate the entire SDF by sampling that texture in a pixel shader and use that to shade a quad. This is more or less what described in the Valve paper mentioned at the beginning. The quad will be rendered at a high resolution (e.g. screen resolution) and the interpolation (done for ‘free’ by the GPU) will give us the lovely crisp outlines we saw earlier.

However this is not always what we want (or are able) to do. While 2D SDF are easy to visualize, there is nothing inherently 2D about SDF in general. A 3D SDF can be used to represent a volumetric surface. How do we visualize that? We *could* render it as a point cloud, evaluating the SDF at each point, but that would get tricky and expensive. What about cases where we don’t care to visualize the SDF? What if it represents a surface we want to do collision detection against?

As it turns out Ray Marching is a good answer to both of these questions and when it comes to ray marching SDF there are a couple of cool tricks we can use. I’ll save the diagrams for this for part 2 of this post, but in the meantime have a read through this blog post and maybe have a look at Claybook to see how cool things can be made using SDF!

]]> The diagram below is a visualization of the mantissa and exponent parts of a floating point number. The **exponent** part gives you the large steps, that keep getting bigger. The **mantissa** part gives a fixed number of equal subdivisions between two exponent steps.

Use the sliders below to control the number of bits used for the exponent and mantissa. The more bits you have for exponent, the higher values you can represent. The more bits you have for mantissa, the more steps you get between exponent values, giving you greater precision.

Each exponent is a power of 2, so every step is 2x bigger than the previous. As the number of subdivisions between two successive exponent values is fixed (mantissa bits), as the exponents get larger, so do the subdivisions between them, which means the precision is reduced.

The exponent bias is subtracted from the exponent, which allows for values less than 2.

Exponent | Range | Step |
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And of course Amit Patel’s blog with some awesome interactive diagrams : http://www.redblobgames.com/!

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