Module 09 Discussions
Discuss any or all of the following:
LinkedIn Learning:
https://www.linkedin.com/learning-login/share?forceAccount=false&redirect=https%3A%2F%2Fwww.linkedin.com%2Flearning%2Fbuilding-an-online-portfolio%3Ftrk%3Dshare_ent_url%26shareId%3DXm4VF%252BVhRL%252B5Q2WDoY2wlw%253D%253D&account=42567804
https://www.linkedin.com/learning-login/share?forceAccount=false&redirect=https%3A%2F%2Fwww.linkedin.com%2Flearning%2Fart-and-illustration-careers-first-steps%3Ftrk%3Dshare_ent_url%26shareId%3D8gyqGNr2SQaYPwwk4DtrmA%253D%253D&account=42567804
and/or
PowerPoint lesson, “History of Computer Art;” (Attached)
and/or
infographics on
pagetutor.com
and
kokogiak.com
You must post one original thread in order to enter the forum. Write: (1) what you already knew, which was reinforced in this module’s presentations, (2) what you learned for the first time during this module’s presentations, and (3) what parts of this module are you most unclear about. Minimum word length for initial posts: 300 words.
Afterward, read at least three classmates’ postings and reply to at least two of them, trying to answer your classmates’ questions about what was unclear to them. Minimum word length for replies: 100 words.
In other words, observe the 3-2-1 rule: read at least 3, reply to at least 2, and contribute at least 1 initial post (but more are encouraged). No partial credit—all or nothing points.
From Bytes to Brushstrokes:
A Short History of Computer Art and Illustration:
By Elio L. Arteaga, graduate student:
Florida Atlantic University:
The computer is the first and only general-purpose machine. Its functionality depends entirely on the software written for it. As new software is written, the computer is able to do more and more. Computers will do things in the future we cannot anticipate today. Human creativity is the driving force behind this technology.
By Professor Elio Arteaga
From Bytes to Brushstrokes: A Short History of Computer Art and Illustration
By Elio L. Arteaga, graduate student/FAU
The computer is the first and only general-purpose machine. Its functionality depends entirely on the software written for it. As new software is written, the computer is able to do more and more. Computers will do things in the future we cannot anticipate today. Human creativity is the driving force behind this technology.
The first machine for storing and “printing” graphics was invented over 200 years ago! In 1804, Frenchman Joseph-Marie Jacquard invented the Jacquard Loom, the first automatic machine for weaving intricate patterns in fabrics.
In 1804, Frenchman Joseph-Marie Jacquard invented the Jacquard Loom, the first automatic machine for weaving intricate patterns in fabrics.
The Jacquard Loom. Lost Artist—The Discovery of Lost Works of Art [Web Site].
http://www.orat.ilstu.edu/~cmkukla/jacquard_loom/JacJacuard.htm
An artist translated images into grids of discrete pixels (analogous to the way scanners translate images into pixels today), and stored sequences of instructions onto punched cards (analogous to saving your work on a disk).
An artist translated images into grids of discrete pixels (analogous to the way scanners translate images into pixels today), and stored sequences of instructions onto punched cards (analogous to saving your work on a disk).
http://www.columbia.edu/acis/history/jacquard.html
Basket of Plenty, tapestry woven on Jacquard Loom.
Following are examples of Jaquard tapestries that can be mass-produced by storing their patterns in a system of punched cards.
Basket of Plenty, tapestry woven on Jacquard Loom.
http://www.accentonrugs.com/catalogue/worl/tmt-Thumb.00005.html
Indiscretion, tapestry woven on Jacquard Loom.
Indiscretion, tapestry woven on Jacquard Loom.
http://www.accentonrugs.com/catalogue/worl/tmt-Thumb.00005.html
Peacock, tapestry woven on Jacquard Loom.
Peacock, tapestry woven on Jacquard Loom.
http://www.accentonrugs.com/catalogue/worl/tmt-Thumb.00005.html
In 1822, Charles Babbage invented the difference engine, for calculating mathematical problems. The difference engine’s capabilities of input, storage, processing and output were carried out mechanically, before electric circuits or electronic tubes were even invented.
In 1822, Charles Babbage invented the difference engine, for calculating mathematical problems. The difference engine’s capabilities of input, storage, processing and output were carried out mechanically, before electric circuits or electronic tubes were even invented.
http://home.clara.net/mycetes/babbage/
1945—ENIAC (Electronic Numerical Integrator and Calculator) was placed into operation in the Moore School at the University of Pennsylvania. During World War II, the need for fast, accurate calculations of ballistic trajectories prompted the development of ENIAC, the world’s first electronic computer. It weighed over 30 tons and used over 19,000 vacuum tubes.
During World War II, the need for fast, accurate calculations of ballistic trajectories prompted the development of ENIAC—The Electronic Numerical Integrator and Calculator, the world’s first electronic computer. It weighed over 30 tons and used over 19,000 vacuum tubes.
http://inventors.miningco.com/library/weekly/aa060298.htm
Ben Laposky’s first oscilloscope photo, 1950.
The first computer image as art was created by Ben Laposky in 1950. It consisted of wave patterns photographed off the screen of an oscilloscope, an analog—not digital—machine.
The first computer image as art was created by Ben Laposky in 1950. It consisted of wave patterns photographed off the screen of an oscilloscope, an analog—not digital—machine.
http://www.dcs.elf.stuba.sk/~sperka/emart/pioneers/wrldpion.htm
Ben Laposky, Oscillon 281, 1960, photograph.
Ben Laposky, Oscillon 281, 1960.
http://www4.hmc.edu:8001/humanities/mus127s/lumia00/
Ben Laposky, Oscillon 1206.
Ben Laposky, Oscillon 1206.
http://www4.hmc.edu:8001/humanities/mus127s/lumia00/
Leon Harmon and Kenneth C. Knowlton Mural, 1966.
Bell Telephone Laboratory Scientists Leon Harmon and Kenneth C. Knowlton created Mural in 1966. The image was produced by scanning a photograph and calculating its gray values. The photograph of a female nude is composed of mathematical and engineering symbols (creating the tonal range), which are in turn typed on a dot matrix printer using only the Greek symbol alpha.
During this early stage, only scientists and programmers had access to computer equipment, and most computer art combined artistic with scientific goals.
Bell Telephone Laboratory Scientists Leon Harmon and Kenneth C. Knowlton created Mural in 1966. The image was produced by scanning a photograph and calculating its gray values. The photograph of a female nude is composed of mathematical and engineering symbols (creating the tonal range), which are in turn typed on a dot matrix printer using only the Greek symbol alpha.
http://www-2.cs.cmu.edu/afs/cs.cmu.edu/user/ph/www/nyit/carlson_images.html
During this early stage, only scientists and programmers had access to computer equipment, and most computer art combined artistic with scientific goals.
A. Michael Noll, a Bell Labs scientist, conducted an experiment to determine the public’s perception of computer art. One of these images was created by Noll in 1964 on a computer. The other was painted by Piet Mondrian in 1917. Can you guess which is which?
A. Michael Noll, a Bell Labs scientist, conducted an experiment to determine the public’s perception of computer art. One of these images was created by Noll in 1964 on a computer. The other was painted by Piet Mondrian in 1917. Can you guess which is which?
Piet Mondrian,
Composition with Lines
1917
A. Michael Noll,
Computer Composition with Lines
1964
The majority of those surveyed thought the image on the right was the Mondrian because it was more random and not as evenly spaced as the image on the left.
(Noll) http://www.citi.columbia.edu/amnoll/CompArtExamples_files/image006
(Mondrian) http://www.fiu.edu/~andiaa/cg2/mon_09
Untitled artwork by Lillian Schwartz and Kenneth C. Knowlton.
Untitled artwork by Lillian Schwartz and Kenneth C. Knowlton.
http://www-2.cs.cmu.edu/afs/cs.cmu.edu/user/ph/www/nyit/carlson_images.html
Edward Zajec, RAM1/8, Plotted Drawing, 1968.
Collaboration between artists and scientists/programmers was an essential relationship in the 1960s. Computer time was prohibitively expensive. Artists must be accompanied by someone who could program. Artist Edward Zajec learned to program a computer himself. In 1968, he used a computer to plot square and diagonal elements arranged in different spatial and rhythmic combinations.
Collaboration between artists and scientists/programmers was an essential relationship in the 1960s. Computer time was prohibitively expensive. Artists must be accompanied by someone who could program. Artist Edward Zajec learned to program a computer himself. In 1968, he used a computer to plot square and diagonal elements arranged in different spatial and rhythmic combinations.
Edward Zajec, “RAM1/8,” Plotted Drawing, 1968.
RAM Series [Web site]. http://web.syr.edu/~ezajec/ez-essay/ez-ram/ram1.html
Edward Zajec, RAM1/21, Oil on Canvas, 150x150cm, 1968.
Edward Zajec, RAM1/21, Oil on Canvas, 150x150cm, 1968.
RAM Series [Web site]. http://web.syr.edu/~ezajec/ez-essay/ez-ram/ram1.html
Untitled animation depicting the path of a satellite
around the Earth, by Edward Zajec.
Untitled animation depicting the path of a satellite around the Earth, by Edward Zajec.
http://www-2.cs.cmu.edu/afs/cs.cmu.edu/user/ph/www/nyit/carlson_images.html
Untitled artwork by A. Michael Noll, 1965.
Untitled artwork by A. Michael Noll, 1965.
http://www-2.cs.cmu.edu/afs/cs.cmu.edu/user/ph/www/nyit/carlson_images.html
The first all-digital art exhibit was held in 1965 at the Howard Wise Gallery in New York.
Untitled artwork by Bela Julesz, 1965.
Untitled artwork by Bela Julesz, 1965.
http://www.dcs.elf.stuba.sk/~sperka/emart/pioneers/wrldpion.htm
Other computer art exhibits included:
• “The Machine as Seen at the End of the Mechanical Age,” 1967, Museum of Modern Art, New York
• “Some More Beginnings: Experiments in Art and Technology,” 1967, Brooklyn Museum.
• Venice Biennale, 1970.
Other computer art exhibits included:
• “The Machine as Seen at the End of the
Mechanical Age,” 1967, Museum of Modern Art,
New York
• “Some More Beginnings: Experiments in Art and
Technology,” 1967, Brooklyn Museum.
• Venice Biennale, 1970.
Untitled artwork by Frieder Nake, exhibited at “Cybernetic Serendipity,” 1968, ICA Gallery in London.
In 1968, scientist Frieder Nake programmed a computer to randomly print many variations of rectangles and lines. He selected and exhibited the pieces that met his esthetic criteria.
• “Cybernetic Serendipity,” 1968, ICA Gallery in London.
In 1968, scientist Frieder Nake programmed a computer to randomly print many variations of rectangles and lines. He selected and exhibited the pieces that met his esthetic criteria.
http://ctiweb.cf.ac.uk/dissertations/virtual_architecture/chapt04.html
Charles Csuri, Aging Process, 1968, animation.
Charles Csuri studied art with Roy Lichtenstein; afterwards, both of them joined the faculty at Ohio State. Csuri became interested in the computer as a means of imaging in 1964. He learned to program a computer and used it to create a series of “transformed drawings” after famous artists: Mondrian, Klee, Durer, Picasso and Goya.
Charles Csuri, Aging Process, 1968, animation. http://www.siggraph.org/artdesign/profile/csuri/artworks/algo/algoone.html
Charles Csuri studied art with Roy Lichtenstein; afterwards, both of them joined the faculty at Ohio State. Csuri became interested in the computer as a means of imaging in 1964. He learned to program a computer and used it to create a series of “transformed drawings” after famous artists: Mondrian, Klee, Durer, Picasso and Goya.
Charles Csuri, Flying in a Circle, 1966, plotted drawing.
These images were generated with fortran programs which ran on an IBM 7094 computer. In this drawing, Csuri programmed his computer to transform a single drawing of a hummingbird into 22 rotated clones.
Charles Csuri, Flying in a Circle, 1966, plotted drawing. http://www.siggraph.org/artdesign/profile/csuri/artworks/algo/algoone.html
These images were generated with fortran programs which ran on an IBM 7094 computer. In this drawing, Csuri programmed his computer to transform a single drawing of a hummingbird into 22 rotated clones.
1961—MIT doctoral student Ivan Sutherland developed Sketchpad, the first interactive software program that enabled artists, with no knowledge of programming, to create artwork on the computer.
1961—MIT doctoral student Ivan Sutherland developed Sketchpad, the first interactive software program that enabled artists, with no knowledge of programming, to create artwork on the computer.
1968—Douglas Englebart invented the mouse, which gave computer users the sense that they were directly manipulating their data. This was a quantum leap for interactivity.
1968—Douglas Englebart invented the mouse, which gave computer users the sense that they were directly manipulating their data. This was a quantum leap for interactivity.
http://www.cc.gatech.edu/classes/cs6751_97_fall/projects/abowd_team/dfurcy/bio.html
The first Macintosh computer, the Mac 128K, 1984.
1984—Apple introduced the Macintosh, a computer whose user-friendliness empowered thousands to design and create artwork on the computer. Paul Brainerd launches Aldus Corp. and develops PageMaker, the first desktop publishing program. Adobe creates PostScript, a page description language, and releases Adobe Photoshop and Illustrator.
1984—Apple introduced the Macintosh, a computer whose user-friendliness empowered thousands to design and create artwork on the computer. Paul Brainerd launches Aldus Corp. and develops PageMaker, the first desktop publishing program. Adobe creates PostScript, a page description language, and releases Adobe Photoshop and Illustrator.
http://www.pmug-nj.org/whatis.html
Javier Romero, Billboard Book of Number One Hits, book cover.
Javier Romero is a graduate of the School of Visual Arts in New York. In 1985, he opened the Javier Romero Design Group, which has since become the leading design and illustration studio in New York. His clients include Coca-Cola, The New York Times, and Disney.
Javier Romero, Billboard Book of Number One Hits, book cover.
Agosto (editor), Illustrator Masters, 1998. Rockport Publishers, Gloucester, Mass.
Javier Romero is a graduate of the School of Visual Arts in New York. In 1985, he opened the Javier Romero Design Group, which has since become the leading design and illustration studio in New York. His clients include Coca-Cola, The New York Times, and Disney.
Javier Romero, Apple College Poster, promotional poster.
Romero imbues his work with bright, vivid colors. A lot is going on in a Romero illustration. He fills them with wavy lines, stars and spirals, suggesting the look and feel of a Latin carnival.
Javier Romero, Apple College Poster, promotional poster.
Agosto (editor), Illustrator Masters, 1998. Rockport Publishers, Gloucester, Mass.
Romero imbues his work with bright, vivid colors. A lot is going on in a Romero illustration. He fills them with wavy lines, stars and spirals, suggesting the look and feel of a Latin carnival.
Javier Romero, HYP Conductor Watch Poster, poster display.
Many of his compositions are arranged on diagonal lines, giving them a strong sense of energy.
Javier Romero, HYP Conductor Watch Poster, poster display.
Agosto (editor), Illustrator Masters, 1998. Rockport Publishers, Gloucester, Mass.
Many of his compositions are arranged on diagonal lines, giving them a strong sense of energy.
Javier Romero, Luis Ovalles Music Package, music package.
Cubist-style geometric shapes reflect an influence by his countryman, Pablo Picasso. A look at his Web site will demonstrate his many talents as a graphic designer, illustrator, and interactive media designer.
www.jrdg.com
Javier Romero, Luis Ovalles Music Package, music package.
Agosto (editor), Illustrator Masters, 1998. Rockport Publishers, Gloucester, Mass.
Cubist-style geometric shapes reflect an influence by his countryman, Pablo Picasso. A look at his Web site will demonstrate his many talents as a graphic designer, illustrator, and interactive media designer.
www.jrdg.com
Charles Csuri, Garden Lovers, 3D digital image
There are only two basic objects in this image, the figure and a daylily. Csuri used a function to place leaf elements onto the surface of the figure in three dimensional digital space.
Charles Csuri, Garden Lovers, 3D digital image
http://www.siggraph.org/artdesign/profile/csuri/
There are only two basic objects in this image, the figure and a daylily. Csuri used a function to place leaf elements onto the surface of the figure in three dimensional digital space.
Charles Csuri, Horse Play, 3D digital image
A mathematical function was used to create the ribbon -like lines. The lines move through points on the surface of a 3d model of a horse.
Charles Csuri, Horse Play, 3D digital image
http://www.siggraph.org/artdesign/profile/csuri/
A mathematical function was used to create the ribbon -like lines. The lines move through points on the surface of a 3d model of a horse.
Nancy Stahl, American Express Context, magazine cover.
Nancy Stahl is a well-known artist whose work has appeared in many advertisements, corporate identity, packaging and multimedia. Her clients include Edy’s-Dreamery Ice Cream, American Express and Esquire.
Nancy Stahl, American Express Context, magazine cover.
Steuer, Sharon; The Illustrator 9 WOW! Book. Peachpit Press, 2000.
Nancy Stahl is a well-known artist whose work has appeared in many advertisements, corporate identity, packaging and multimedia. Her clients include Edy’s-Dreamery Ice Cream, American Express and Esquire.
Nancy Stahl, American Express Context, illustration.
Stahl’s work reflects an influence by the heroic worker paintings typical of the Works Progress Administration, featuring strong, contrasting lines and bold shapes. She relies on soft, muted colors and a limited palette to convey dimensionality.
Nancy Stahl, American Express Context, illustration.
Steuer, Sharon; The Illustrator 9 WOW! Book. Peachpit Press, 2000.
Stahl’s work reflects an influence by the heroic worker paintings typical of the Works Progress Administration, featuring strong, contrasting lines and bold shapes. She relies on soft, muted colors and a limited palette to convey dimensionality.
Nancy Stahl, Edys-Dreamery Ice Cream, product package labels.
New York Strawberry Cheesecake
Chocolate Peanut Butter Chunk
Nancy Stahl, Edys-Dreamery Ice Cream, product package labels.
http://www.edys-dreamery.com/
(top) New York Strawberry Cheesecake,
(bottom) Chocolate Peanut Butter Chunk.
Nancy Stahl, The Illustrator 8 WOW! Book, cover illustration.
Her work has appeared in several how-to books on Adobe Illustrator. Her Web site features an online portfolio.
http://www.nancystahl.com
Nancy Stahl, The Illustrator 8 WOW! Book, cover illustration.
Steuer, Sharon; The Illustrator 9 WOW! Book. Peachpit Press, 2000.
Her work has appeared in several how-to books on Adobe Illustrator. Her Web site features an online portfolio. http://www.nancystahl.com
Dorothea Taylor-Palmer, All That Jazz, book cover illustration.
Dorothea Taylor-Palmer has been a professional designer since the early 1980s. She formed TP Design in 1992 with her husband, Charley Palmer.
Dorothea Taylor-Palmer, All That Jazz, book cover illustration.
Agosto (editor), Illustrator Masters, 1998. Rockport Publishers, Gloucester, Mass.
Dorothea Taylor-Palmer has been a professional designer since the early 1980s. She formed TP Design in 1992 with her husband, Charley Palmer.
Dorothea Taylor-Palmer, Jazz Trio 3, illustration.
Taylor-Palmer describes her style as “designustration,” firmly believing that typography and illustration should be integrated and work together. Her work uses Fauvist-style colors to convey action, music and energy.
Dorothea Taylor-Palmer, Jazz Trio 3, illustration.
Agosto (editor), Illustrator Masters, 1998. Rockport Publishers, Gloucester, Mass.
Taylor-Palmer describes her style as “designustration,” firmly believing that typography and illustration should be integrated and work together. Her work uses Fauvist-style colors to convey action, music and energy.
Clark Tate, Mann’s Chinese Theater, digital illustration for USA Today.
Clark Tate graduated from California’s Art Center College of Design. His clients include Coca-Cola, 3M and USA Today.
Clark Tate, Mann’s Chinese Theater, digital illustration for USA Today.
Steuer, Sharon; The Illustrator 9 WOW! Book. Peachpit Press, 2000.
Clark Tate graduated from California’s Art Center College of Design. His clients include Coca-Cola, 3M and USA Today.
Clark Tate, Snoopy and Woodstock at Fort Santiago in the Philippines,
McDonald’s Happy Meal Box illustration.
The key to Tate’s style is simplicity in order to make the results appear complex. In this illustration, Tate intentionally broke the rules of perspective to create a slightly surreal environment for Snoopy and Woodstock.
Clark Tate, Snoopy and Woodstock at Fort Santiago in the Philippines, McDonald’s Happy Meal Box illustration.
Steuer, Sharon; The Illustrator 9 WOW! Book. Peachpit Press, 2000.
The key to Tate’s style is simplicity in order to make the results appear complex. In this illustration, Tate intentionally broke the rules of perspective to create a slightly surreal environment for Snoopy and Woodstock.
Nancy Burson, The Human Race Machine, 2000, digital image.
Nancy Burson, Carol Flax and Joan Truckenbrod used photographic imagery in their work to deal directly with issues in the art world such as gender, identity, and family structures.
Nancy Burson, The Human Race Machine, 2000, digital image.
From left to right: Asian, Indian, Black, Hispanic, White.
http://www.geneart.org/N_burson.htm
Nancy Burson, Carol Flax and Joan Truckenbrod used photographic imagery in their work to deal directly with issues in the art world such as gender, identity, and family structures.
Joan Truckenbrod, Paradoxical Gauge, 1995, IRIS ink jet print, 28” x 34”
Joan Truckenbrod, Paradoxical Gauge, 1995, IRIS ink jet print, 28” x 34” http://www.wmgallery.com/truc_995.html
Joan Truckenbrod, Coded Self-Assembly, 1995, IRIS ink jet print, 28” x 34”
Joan Truckenbrod, Coded Self-Assembly, 1995, IRIS ink jet print, 28” x 34” http://www.wmgallery.com/truc_995.html
Joan Truckenbrod, Power Conduit, 1995, IRIS ink jet print, 28” x 34”
Joan Truckenbrod, Power Conduit, 1995, IRIS ink jet print, 28” x 34” http://www.wmgallery.com/truc_995.html
Bert Monroy, Hotel Arcata, 2000, digital image.
Considered to be one of the pioneers of digital art, Bert Monroy embraced the computer as an artistic medium and became expert at producing photo-realistic images using Adobe Illustrator and Photoshop without the use of scans. Monroy’s incredible fine art prints are on display at his Web site.
www.bertmonroy.com
Bert Monroy, Hotel Arcata, 2000, digital image.
www.bertmonroy.com
Considered to be one of the pioneers of digital art, Bert Monroy embraced the computer as an artistic medium and became expert at producing photo-realistic images using Adobe Illustrator and Photoshop without the use of scans. Monroy’s incredible fine art prints are on display at his Web site.
Bert Monroy, Hayden Orpheum, 1991, digital image.
Bert Monroy, “Hayden Orpheum,” 1991, digital image.
www.bertmonroy.com
Bert Monroy, Pic n Pac, 1995, digital image.
Bert Monroy, “Pic n Pac,” 1995, digital image.
www.bertmonroy.com
Bert Monroy, The Rendez-vous, 1999, digital image.
The rapid rate of technological advances in computer illustration creates an atmosphere in which artists demand better, faster equipment to create better work. However, better technology only increases an artist’s visual vocabulary; an artist’s creativity and talent, not his tools, determine the quality of the work.
Bert Monroy, “The Rendez-vous,” 1999, digital image.
www.bertmonroy.com
The rapid rate of technological advances in computer illustration creates an atmosphere in which artists demand better, faster equipment to create better work. However, better technology only increases an artist’s visual vocabulary; an artist’s creativity and talent, not his tools, determine the quality of the work.
