Volume 9–2 (Low Res).pdf

Q&R Computer-generated animation may start from a three-dimensional
model, like the insect shown, as well as from drawings and photographs.
S Opaquing or coloring animation cels takes only seconds by computer,
as compared with days by conventional methods. In the NYIT "scan and
paint" program, the operator chooses from a palette of colors displayed
on the screen, touches the electronic pen to the desired color and then to
the section to be opaqued. The computer floods the designated area with
color Mistakes are corrected and changes made with a touch of the pen.
T The electronic pen or "wand" functions in conjunction with the digitizing
tablet. Marks made on the tablet with the pen are converted to electronic
impulses and then transmitted to the display terminal, where they are
reconverted to visual forms and images.
U-W According to senior artist Paul Xander, the computer does not
replace the artist; it is just another tool with a multitude of time-saving
functions. In painting, it allows the artist to create his own brushstrokes,
work in a variety of "media," choose from billions of hues, values and
intensities, and rotate colors to consider infinite color schemes.
tures, patterns, and brush marks are as limitless as the
artist's imagination. He can paint with a multicolored
brush. He can simulate airbrush, wet acrylic paint,
dry brush, watercolor, pen and ink, pencil, pastel,
wax crayon. He can change values or tints at will,
create filter effects, blur edges, explore textures, expand
a tiny detail to an overall background — all with
a touch of the electronic pen and appropriate instructions
to the computer.
Since no acetate layers of drawings are involved, the
artist has no restrictions on the levels of animation.
He may employ as many as 75, without concern about
the diminution of background color. Changes or corrections
of color need not be scraped off in the timeconsuming,
arduous conventional way. Instead, a
touch of the electronic pen erases and replaces
colors in an instant.
Finally, all the finished stages of action for a single
frame are called up from the computer memory,
registered and assembled in a matter of seconds.
Animation is just one aspect of computer-assisted
graphics. The potential for use in advertising design,
television, architecture, publishing, educational and
corporate graphics makes one giddy in its contemplation.
Without rulers, compasses or T-squares, anyone
can draw perfect circles, ellipses, squares, rectangles,
cones, pyramids— in short, any two- or three-dimensional
geometric function. With the computer you
can flop images in any direction, enlarge, reduce,
zoom, pan, blur, distort, replicate, create collages,
project 3-D constructions in multiple perspectives,
rotate colors to study color scheme variations and
much, much more. The options are as broad as an
artist's vision. And when the imagination runs dry, the
computer is capable of generating fantastic "effects"
on its own,without a murmur about creative bum-out.
To be completely honest and reassuring, there are
two things the computer will not do./t will not make
an artist out of an unskilled person. Nor will it
make a robot out of a sensitive artist. Drawings,
color choices and aesthetic decisions must be made
by the person who wields the "wand:' As Paul Xander,
senior resident artist at CGL, explained: "The computer
is just another tool for me:' As for adjusting to
the new tool, both Xander and Howard Spielman,
production manager, researcher, and artist, agreed
that it had taken only a matter of days for them to feel
at home with the computer equipment. Both men,
who had long experience in conventional graphics,
are confirmed converts to computer life.
Despite the enticing prospects and reassurances
from pioneers, we will all enter the age of computer
graphics like swimmers in unknown waters. Some
will plunge in gleefully. Some will edge in slowly.
Some will hang back, hankering for the familiar feel
of a felt-tipped pen. Others may have to be dragged
along grudgingly or left behind. Nevertheless, it is
certain that computers will soon be standard equipment
for graphic artists as well as doctors, lawyers,
dentists, teachers, writers, office workers, meteorologists
and housewives. Computers will be as commonplace
in our offices and homes as the telephone,
and without doubt— without knowing beans about
the technology— we shall all become exceedingly
proficient at using them. Marion Muller
This is the first in a series of articles on computers
and their use in graphic communication. We would
like to thank the NYIT community for their help in
educating us and in their contributions for the
preparation of this article.
Information about the hardware and software
programs of CGL may be obtained by contacting:
Computer Graphics Laboratory Inc., The New York
Institute of Technology, Old Westbury NY 11568; or
Computer Graphics Laboratory Inc., Chrysler
Building, 405 Lexington Avenue, New York, NY 10174.
THIS ARTICLE WAS SET IN ITC CHELTENHAM'