Creative Computer Graphics presents the dynamic visual power of images created with computer technology. From the pioneering efforts in the 1950s to the current achievements of modern exponents in the US, UK, France and Japan, the book explores computer graphic images through the techniques and technology used to create them. Scientific research laboratories, video games, NASA space simulations, feature films, television advertising and industrial design are some of the areas where computer graphics has made an impact. The book traces the history, assesses the current state of the art and looks ahead to the future where computer graphic images and techniques are to become progressively more important as a means of expression and communication.

Demonstrates scores of innovative ways to use imaging-editing software, along with scanners, digital cameras, and printers, to develop fabulous art, no matter what the medium.

Creating effective, eye-catching designs and layouts is a matter of both inspiration and practical know-how. This book integrates clear explanations of the concepts behind great design with instruction in the use of the core software packages - Photoshop, Illustrator, and Indesign. It helps beginner learn the essentials of graphic design.

This resource offers more than 20 amazing projects to design, animate, and create digitally, from birthday cards to 3D cities and more. With five chapters covering bitmap painting, vector graphics, photo-editing, animations, and 3D drawing, you will be a super-designer by the end of the book!

In the third paper in this chapter, Mike Pratt provides an historical intro duction to solid modeling. He presents the development of the three most freqently used techniques: cellular subdivision, constructive solid modeling and boundary representation. Although each of these techniques devel oped more or less independently, today the designer's needs dictate that a successful system allows access to all of these methods. For example, sculptured surfaces are generally represented using a boundary represen tation. However, the design of a complex vehicle generally dictates that a sculptured surface representation is most efficient for the 'skin' while constructive solid geometry representation is most efficent for the inter nal mechanism. Pratt also discusses the emerging concept of design by 'feature line'. Finally, he addresses the very important problem of data exchange between solid modeling systems and the progress that is being made towards developing an international standard. With the advent of reasonably low cost scientific workstations with rea sonable to outstanding graphics capabilities, scientists and engineers are increasingly turning to computer analysis for answers to fundamental ques tions and to computer graphics for present~tion of those answers. Although the current crop of workstations exhibit quite impressive computational ca pability, they are still not capable of solving many problems in a reasonable time frame, e. g. , executing computational fluid dynamics and finite element codes or generating complex ray traced or radiosity based images. In the sixth chapter Mike Muuss of the U. S.

The co-founder and longtime president of Pixar updates and expands his 2014 New York Times bestseller on creative leadership, reflecting on the management principles that built Pixar’s singularly successful culture, and on all he learned during the past nine years that allowed Pixar to retain its creative culture while continuing to evolve. “Might be the most thoughtful management book ever.”—Fast Company For nearly thirty years, Pixar has dominated the world of animation, producing such beloved films as the Toy Story trilogy, Finding Nemo, The Incredibles, Up, and WALL-E, which have gone on to set box-office records and garner eighteen Academy Awards. The joyous storytelling, the inventive plots, the emotional authenticity: In some ways, Pixar movies are an object lesson in what creativity really is. Here, Catmull reveals the ideals and techniques that have made Pixar so widely admired—and so profitable. As a young man, Ed Catmull had a dream: to make the first computer-animated movie. He nurtured that dream as a Ph.D. student, and then forged a partnership with George Lucas that led, indirectly, to his founding Pixar with Steve Jobs and John Lasseter in 1986. Nine years later, Toy Story was released, changing animation forever. The essential ingredient in that movie’s success—and in the twenty-five movies that followed—was the unique environment that Catmull and his colleagues built at Pixar, based on philosophies that protect the creative process and defy convention, such as: • Give a good idea to a mediocre team and they will screw it up. But give a mediocre idea to a great team and they will either fix it or come up with something better. • It’s not the manager’s job to prevent risks. It’s the manager’s job to make it safe for others to take them. • The cost of preventing errors is often far greater than the cost of fixing them. • A company’s communication structure should not mirror its organizational structure. Everybody should be able to talk to anybody. Creativity, Inc. has been significantly expanded to illuminate the continuing development of the unique culture at Pixar. It features a new introduction, two entirely new chapters, four new chapter postscripts, and changes and updates throughout. Pursuing excellence isn’t a one-off assignment but an ongoing, day-in, day-out, full-time job. And Creativity, Inc. explores how it is done.

Fractals and chaos theory lead to startling graphics in this book by a renowned scientist, inventor, and artist, who coordinates information from disparate fields. Over 275 illustrations, 29 in color.

Almost all motion graphics artists today use After Effects, Photoshop, or Illustrator to some degree in their projects. But how do they decide which tool is best for the job and how can they utilize the various components in the Creative Suite together for the most efficient and effective workflow? This book cuts to the chase and shows readers an in-depth view of the various components in the Creative Suite as best utilized in professional motion graphics projects. With 4-color artwork from real-life productions sprinkled throughout, this inspiring and practical guide will show intermediate to advanced readers what they need to know to incorporate CS5 in their own work. In the first half of the book, readers learn about design essentials as related to motion graphics, including typography, logo animation, repairing and retiming footage, stylizing footage, background design, 3D objects and cameras, audio design, and vector design. The second half of the book focuses on real-world design explorations including chapters on broadcast package design, title sequences, DVD menu design, motion control 3D, character animation techniques, and panoramic images.The accompanying DVD brings it all together by providing source footage and project files, allowing readers to experiment on their own. Note from the publisher: FREE Adobe Creative Suite 5.5 updates are available for this title. Simply register your product at www.peachpit.com/register and you will receive the updates when they become available.