From: utzoo!decvax!harpo!npoiv!hou5f!ariel!vax135!cornell!pauline Newsgroups: net.graphics Title: Re: art and c.g. Article-I.D.: cornell.4037 Posted: Mon Feb 28 11:57:05 1983 Received: Tue Mar 1 07:08:40 1983 Well, it seems as if the discussion on art and c.g. is fizzling out. So, let's see if I can kick something up again. First, I think I'd better define what I mean by traditional art techniques. This includes not only oils, watercolors, and pencil, but also lithography, air-brushes, silkscreen, intaglio, photography, et al. Given this description, I still can't think of any c.g. that can't be produced by these techniques or a combination thereof. Granted, it might not be easy, but it still could be done. I went back and looked over my SIGGRAPH '82 Art Show catalogue again, I tried to remember everything I saw at SIGGRAPH '82, NCGA '81 and everything I've seen here at Cornell's CADIF facility (CADIF is a c.g. facility headed by Don Greenberg). If anyone has a source for something they still feel can't be duplicated by traditional techniques, please let me know. Now here's a thought on reaching the art community. When lithography was invented in the 1800's, its developers also faced the same problem of getting artists to accept a new medium. For those who don't know, litho- graphy is a printing technique in the same family as silkscreening, etching, and blockprinting. The process of lithography is split into two basic functions: drawing an image on the stone plate and printing it. Printing a litho is a little technical, relative to the drawing. What happened back then was, printers had shops with all the equipment that was needed for lithos and these printers would *invite* major artists to come in and experiment with the new medium. The artist would come in, draw on the stone plate, and the printer would then print up the image. There was a lot of interaction between printer and artist, the artist had to communicate to the printer what sort of image he was after, and the printer advised the artist on the limitations (or lack of limitations) of the medium. So what we had was a technical staff working intimately with artists in a mutually advantageous situation. The artist got experience, the printer got prints to sell. Seems to me that somewhere, the same sort of exchange could be set up for computer graphics. What say you? pyt