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