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Introducing a dynamic medium for artistic expression and graphic communication This is a seminal contributionoa must-read for anyone interested in how computers are used in art and design. Spalter masterfully presents the principles and practices of this vital and rapidly growing field. She blends just the right amount of technology with applications and implications to the visual arts, in an easy-to-read, informative style.. -- Andries van Dam, T. J. Watson, Jr. University Professor of Technology and Education and Professor of Computer Science, Brown University, and coauthor of the authoritative book, Computer Graphics: Principles and Practice. At last Those are the words that most often greet Anne Morgan Spalteris new book--an introduction to computer graphics uniquely focused on the computer as a medium for artistic expression and graphic communication--the first comprehensive work to combine technical and theoretical aspects of the emerging field of computer art and design. Integrating theory, examples, and the concepts underlying all the major types of graphics software, Spalter explains the principles and practices that artist, designers, illustrators, and photographers

Tabla de contenidos provista por Syndetics

• 1 Computers and Computer Art: A Brief History
• Three Periods of Computer Art. Landmarks in Computer Technology-1890 to the Early 1960s
• A Digression: The Printing Press
• From Textiles to Tabulation
• Women in Computing and Computer Art
• World War II and Its Aftermath
• Computer Art Through the Early 1970s
• The First Computer Images
• Photocopier Art
• Two Early Computer Artists
• The Search for the Laws of Aesthetics
• Representational Imagery
• Computer Film
• Computer Sculpture
• Landmarks of Computer Technology-After 1960
• Better, Faster, Cheaper
• Interactive Graphics
• Raster Graphics
• Computer Art in the Late 1970s and 1980s
• Synergy Between Literary Theory and Computer Graphics Technology
• Computer Art in the 1990s and Beyond
• 2 Digital Painting and Photoediting-2D Raster Graphics
• Entering a Postphotographic Era
• Concepts
• Continuous and Analog Versus Discrete and Digital
• The Pixel
• Anatomy of a Painting or Photoediting Program
• Local Touch
• The Concept of Touch
• Transparency, Tool Shape, and Mixing behavior
• Global Touch
• Tonal Mapping
• Filtering
• Origins of Filtering Vocabulary in Signal Processing
• Simple Transformations
• Algorithmic Touch and Special Effects
• Selection and Masking
• The Local-Global Continuum
• Composition
• Moving the Edges
• Placement of Elements
• Image Size: File Size, Resolution, and Color Depth
• Calculating File Size
• Scale
• The Alpha, or Transparency, Channel
• 3 Keyboards, Mice, Tablets, Scanners, and Displays
• Sampling Hand Motion
• Keyboards
• The Mouse and Its Variations
• Tablets and Styli
• Relative Versus Absolute Motion
• Reconceiving Computer Input
• Sampling Colors
• Scanning
• Copyright Protection
• Digital Still Cameras
• Digital Video Cameras
• The Art of Input
• Found Data
• Dangers of Input
• Introduction to Output
• Computer Displays
• Screen Types
• Projection
• 4 Digital Design and Layout-2D Geometric Graphics
• A New Level of Flexibility
• Concepts
• Geometric Shapes
• Geometry and the Nature of Selection
• Drawing Geometric Shapes by Sampling
• Adobe PostScript
• Anatomy of a Digital Design and Layout Program
• Touch
• Local-Touch Tools
• Working with Local-Touch Tools
• Global-Touch Tools
• Boolean Operations (Adding and Subtracting Shapes)
• Typography
• Importing Raster Images
• Composition
• The Page
• Placement
• Composing with Objects: Groups and Layers
• Size and Scale
• Accuracy as a Compositional Tool
• Color
• Combining Raster and Geometry-Based Graphics
• 5 Electronic Color
• Visible Light
• Subtractive Versus Additive Color Mixing
• Primary Colors
• Primary Colors for Subtractive and Additive Mixing
• Mixing Colors
• Gamma Correction
• Color Consistency
• Color-Matching Systems
• Color Spaces
• The RGB Cube
• The HSV and HSL Spaces
• The HWB Space
• Perceptually Based Spaces and the Munsell System
• Using Color Spaces

Notas de autor provistas por Syndetics

Anne Morgan Spalter is currently Artist in Residence, Brown Computer Graphics Group, Department of Computer Science, Brown University and Outreach Director, The NSF Science and Technology Center for Computer Graphics and Scientific Visualization. She designed the first computer art course at Brown and taught joint- ly there and at Rhode Island School of Design (RISD). She has degrees in mathematics (Brown) and in painting (RISD). Her own computer art has been exhibited both in the U.S. and abroad. She is the founder of the College Art Association SIG for Computers in the Visual Arts.