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E-grāmata: Digital Media Foundations: An Introduction for Artists and Designers

(Marist College, USA), (Marist College, USA)
  • Formāts: 358 pages
  • Izdošanas datums: 04-Aug-2020
  • Izdevniecība: Routledge
  • Valoda: eng
  • ISBN-13: 9781351849197
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Digital Media Foundations: An Introduction for Artists and DesignersPalielināt
  • Formāts: 358 pages
  • Izdošanas datums: 04-Aug-2020
  • Izdevniecība: Routledge
  • Valoda: eng
  • ISBN-13: 9781351849197
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Fully-updated and comprehensive, this second edition is a creative and practical introduction to the field of digital media for future designers, artists, and media professionals. It addresses the evolution of the field, its connections with traditional media, up-to-date developments, and possibilities for future directions. Logically organized and thoughtfully illustrated, it provides a welcoming guide to this emerging discipline.

Describing each medium in detail, chapters trace their history, evolution and potential applications. The book also explains important, relevant technologies – such as digitizing tablets, cloud storage, and 3D printers – as well as new and emerging media like augmented and virtual reality. With a focus on concepts and creative possibilities, the text’s software-neutral exercises provide hands-on experiences with each of the media. The book also examines legal, ethical, and technical issues in digital media, explores career possibilities, and features profiles of pioneers and digital media professionals.

Digital Media Foundations

is an ideal resource for students, new professionals, and instructors involved in fields of graphic and visual arts, design, and the history of art and design.

Preface xvii
Acknowledgments xx
Part I Introduction
1(22)
1 The Artist and the Computer
3(20)
Introduction
3(1)
New Media, New Freedom, New Realms
3(1)
Artists and Technology in the Past
4(4)
Box 1.1 The Art World vs. Photography
6(2)
The Digital Studio
8(1)
Hardware
8(5)
Artist Profile: Ruud van Empfel---Realism beyond Reality
11(2)
Software
13(7)
Box 1.2 John Knoll---From Photoshop to Star Wars
14(5)
Box 1.3 The Multimedia Team
19(1)
Conclusion: Time to Begin
20(3)
Part II Hardware and History
23(286)
2 The History of Computers: From Calculators to the Web
25(27)
Introduction
25(1)
Important First Steps
25(8)
The Abacus: The First Calculator
26(1)
The Pascaline
26(1)
The Jacquard Loom
26(1)
Charles Babbage's Difference Engine and Analytical Engine
27(2)
Box 2.1 Augusta Ada King, the First Female Programmer
29(1)
The Census of 1890 and Hollerith's Machine
30(1)
The Tabulating Machine Company Becomes IBM
31(2)
Big Iron: The First True Computers
33(7)
Colossus Breaks the Code
33(1)
The Mark 1---Harvard/IBM
34(1)
Box 2.2 Finding the Bug
35(1)
ENIAC
36(1)
UNIVAC---Remington Rand
36(2)
Box 2.3 UNIVAC Gets a National Audience
38(1)
IBM Responds to the Challenge
39(1)
The First Programming Languages
39(1)
The Transistor, Silicon, and Software
40(3)
Transistor Invented at Bell Labs
40(1)
The Birth of Silicon Valley
41(1)
Intel and Moore's Law
41(1)
The Sovereignty of the Giant Mainframe Comes to an End
42(1)
The Personal Computer
43(5)
The IBM PC
45(1)
The Graphical Age Begins
46(1)
Windows Comes to the PC
47(1)
The Arrival of the Clones
48(1)
The Birth of the Internet
48(2)
The World Wide Web: Internet Goes GUI
49(1)
Box 2.4 Tim Berners-Lee: The Father of the Web
49(1)
Conclusion
50(2)
3 The Pioneers of Digital Art
52(24)
Introduction
52(1)
Art or Science?
52(2)
Sketchpad
53(1)
The Mouse Is Born
53(1)
Artists and Engineers (Finally) Unite
54(4)
Box 3.1 E.A.T. in Osaka
55(3)
Research Centers---Heavy Iron on Campus
58(1)
University of Utah
58(1)
Ohio State
59(1)
Xerox PARC
59(2)
Apple and the Arrival of the Macintosh
61(2)
The Beginning of Electronic Printing
62(1)
Pioneers of Computer Graphics and Animation
63(1)
The Jet Propulsion Laboratories
63(1)
New York Institute of Technology
64(1)
Toys and Monsters: The Computer Graphics Industry
64(10)
Box 3.2 Commodore: A Computer for the Masses
67(1)
The Games: From the Arcade to Your Home
68(1)
Artist Profile: The Journey of Mario's Legendary Father---Shigeru Miyamoto
68(4)
The World Wide Web: Another Campus Revolution
72(1)
Virtual Reality
73(1)
Conclusion
74(2)
4 Inside the Box: The Computer
76(20)
Introduction
76(1)
Inside the Box
76(1)
PC Components
77(4)
The Box Itself
77(1)
The Power Supply
77(1)
The Motherboard
78(2)
Central Processing Unit (CPU): The Brain on the Motherboard
80(1)
Memory on the Motherboard
81(5)
ROM Memory
81(1)
UEFI (Unified Extensible Firmware Interface) Firmware
81(1)
RAM Memory
81(1)
Buses and Ports on the Motherboard
82(1)
Universal Serial Bus (USB)
82(1)
Thunderbolt
83(1)
Hard Drives
84(1)
Solid State Drives and Flash Drives
85(1)
Video Adapters: What You See
85(1)
Just Outside the Box: The Monitor
86(6)
Liquid Crystal Display (LCD)
87(1)
Box 4.1 Gaming and Video Issues: Refresh Rate and Frames Per Second
87(1)
Artist Work: Nam June Paik
88(3)
Retina Display
91(1)
Box 4.2 Design Images for the Web at 72 ppi? Check Your Math
92(1)
Input Devices: Keyboard/Mouse/Tablet
92(3)
Mouse
92(2)
Graphics Tablets
94(1)
Sound
94(1)
Conclusion
95(1)
5 Outside the Box
96(27)
Introduction
96(1)
A Brief History of Computer Printing
97(7)
Impact Character Printers
97(1)
Daisy Wheel Letter Quality Printer
97(1)
The Dot Matrix Printer
97(1)
The Change
98(1)
Box 5.1 Xerox: The Father of Laser Printers
99(2)
From Xerox to Laser
101(1)
Laser Resolution
102(1)
Lasers and Fonts
102(1)
Controlling Laser Printer Output
102(1)
Color Laser
103(1)
Inkjet
104(3)
Box 5.2 Getting Technical Inkjet Technologies: HP vs Epson
104(2)
Permanence
106(1)
Box 5.3 Getting Technical: Dye vs. Pigment-Based Inks
106(1)
Inkjet Papers
107(1)
Types of Inkjet Papers and the Science Behind Them
107(2)
Swellable Papers
107(1)
Porous Paper (Microporous/Nanoporous)
107(1)
Cotton Rag/Fine Art Papers
108(1)
Inkjet Resolution and Photographic Quality
108(1)
Dye Sublimation Printers
108(1)
Three-Dimensional Printers
109(1)
Digital Cameras
109(3)
How They Work
109(1)
Box 5.4 Getting Technical: Digital Sensors
110(1)
Sensor Size and Grainy Images
110(1)
More Megapixels?
111(1)
ISO (International Standards Organization) and Light Sensitivity
112(1)
Aperture and Depth of Field
112(1)
Shutter Speed
113(1)
JPEG and RAW Files
113(9)
Scanner Overview
114(1)
Sample Rate
115(1)
Bit Depth
115(1)
Dynamic Range
115(1)
Scanner Types
115(1)
Three-Dimensional Scanners
116(1)
Artist Work: Stephanie Lempert
116(3)
Box 5.5 A Brief Note on CD-ROM/DVD
119(1)
Thumb Drives
119(1)
Cloud Storage
120(1)
Broadband: DSL and Cable
120(1)
Cable Modems
120(1)
Satellite Systems
121(1)
Security and Hackers
121(1)
Conclusion
122(1)
6 Digital Layout and Design: A Change in Attitude
123(24)
A Brief History of Print
124(4)
The Paper Revolution
124(1)
The Print Revolution
124(3)
The Desktop Revolution
127(1)
Designers and Publishing Before the Digital Revolution
128(2)
Training a Graphic Designer
128(2)
The Birth of Digital Layout and Design
130(1)
Digital Layout and Design: Not Just for Amateurs
130(1)
Digital Layout and Design: The Equipment
131(1)
Inside a Digital Layout and Design Program
131(1)
Rulers and Guidelines
131(1)
The Basic Tools
132(1)
The Pointer/Select Item Tool
132(1)
Text and Text Blocks
132(1)
Basic Text Control
133(2)
Advanced Text Control
135(6)
Artist Work: Marian Bantjes
137(4)
Master Pages or Style Sheets
141(1)
Images
141(1)
Image Limitations
141(1)
Color and Digital Layout and Design
142(2)
Monitor Calibration
143(1)
ICC Profiles
143(1)
Box 6.1 Getting Technical: Color Profiles and Working with a Professional Printer
144(1)
Spot Color
144(1)
PostScript
144(2)
PostScript Basics
145(1)
PDF (Portable Document Format)
145(1)
Conclusion
146(1)
7 Image Editing
147(23)
Introduction
147(3)
Box 7.1 Getting Technical: spi, dpi or ppi
148(1)
Color Models
148(1)
Box 7.2 Getting Technical: Gamut
149(1)
Global Changes
150(4)
Making Images Larger and Smaller
150(1)
Resizing
150(1)
Resampling
150(1)
Value and Contrast
151(1)
Brightness and Contrast
151(1)
Levels and the Histogram
151(1)
Curves
152(2)
Working With Color Balance Controls
154(3)
Channels and Color Balance
154(1)
Simple Color Balance
154(1)
Color Balance Using Levels
155(1)
Hue/Saturation Controls
156(1)
Filters: Modification and Enhancement
157(5)
Box 7.3 Getting Technical: The Unsharp Mask
158(1)
Image-Editing Tools and Selections
158(1)
Selection Tools
158(2)
Saving Selections and the Channels Palette
160(2)
Local Controls
162(2)
Paint Tools
163(1)
The Rubber Stamp/Clone Tool
163(1)
Basic Image Manipulation
164(4)
Layers
164(1)
Artist Work: Robert and Shana ParkeHarrison
165(2)
The Layer Mask
167(1)
Rotate and Transform with Layers
167(1)
The Undo and History
168(1)
Conclusion
168(2)
8 Digital Painting
170(16)
Introduction
170(1)
Traditional and Digital Tools
171(1)
Bitmap Painting
171(11)
Basic Concepts and Tools
171(1)
Box 8.1 The Digitizing Tablet and Its Mobile Offspring
172(1)
The Workplace
173(1)
The Brushes
173(1)
Color
174(1)
Artist Profile: Chet Phillips, Digital Painter
174(3)
More Than One Color and Gradients
177(1)
Paper Textures
178(1)
Cloning and Tracing
178(1)
Layers
179(1)
Selecting and Masking
179(2)
Special Effects
181(1)
Working With Type
181(1)
Printing and Exporting
182(1)
Painting for the Web
183(1)
Digital Painting and Mobile Applications
183(1)
Conclusion
184(2)
9 Vector Drawing and Illustration
186(20)
Introduction
186(2)
Box 9.1 Father Ivan
186(2)
Basic Concepts and Tools
188(4)
The Workplace
189(1)
Path, Stroke, and Fill
190(1)
Creating Simple Shapes
190(1)
Selecting and Transforming Shapes
191(1)
Editing Curves
192(1)
Working With Type
193(2)
Painting and Color
195(1)
Drawing With the Pen Tool
195(2)
Brushes
197(1)
Patterns and Gradients
197(1)
Gradient Meshes
198(3)
Artist Profile: David Sossella
199(2)
Layers and Stacking
201(1)
Combining Forms to Make Complex Shapes
201(2)
Box 9.2 Making a Gear with Compound Paths
202(1)
Printing
203(1)
Vector Illustration and the Web
203(1)
Vector Illustration Applications for Tablets
204(1)
Conclusion: Choosing Software for Two-Dimensional Imaging
205(1)
10 Two Dimensional Animation: Up and Running
206(28)
Introduction
206(2)
In the Beginning
207(1)
Pioneers of Traditional Animation
208(10)
Winsor McCay
208(1)
Otto Messmer
209(1)
The Fleischer Brothers
210(1)
Walt Disney
211(2)
Box 10.1 How Traditional Animation Was Made at the Big Studios
213(1)
Chuck Jones
214(1)
Tezuka and Anime
215(2)
Animation Goes Digital: John Lasseter and Pixar
217(1)
Traditional Animation Techniques and Production
218(3)
Working in Time
218(1)
The "Natural" World of Animation
219(1)
Cinematic Techniques
219(1)
Transitions
220(1)
The Importance of Planning
221(4)
Concept
221(1)
Treatment
221(1)
Storyboard
222(1)
Model Sheets and Character Design
222(1)
Backgrounds
223(1)
Soundtrack
223(1)
Box 10.2 Orchestrating Sounds
224(1)
Two-Dimensional Animation
225(7)
Cel or Key-frame Animation: Traditional and Digital
225(1)
The Timeline
226(1)
Tweening
227(1)
Cycles
227(1)
Creating and Importing Elements
228(1)
The Web: GIF Animations
229(1)
For the Web and Beyond: Vector Animation
229(1)
Artist Profile: Nina Paley
230(2)
Conclusion
232(2)
11 Three-Dimensional Modeling and Animation
234(25)
Introduction
234(3)
The View in Three Dimensions: The Z-axis
235(1)
Viewing Modes
236(1)
Modeling: Digital Sculpting
237(10)
Hard Surface vs. Organic Modeling
238(1)
Working With Primitives
238(1)
Techniques for Modifying Two-Dimensional Forms
238(2)
Boolean Operations
240(1)
Digital Sculpting
240(1)
Scanning in Three Dimensions
241(1)
Texture Mapping
242(2)
Lighting
244(1)
The Camera and the Audience
245(1)
Focus
245(2)
Rendering and Shading
247(5)
Shading Options
247(1)
Ray Tracing
247(1)
Rendering for Production: How Much Detail Should Be Used?
248(1)
Three-Dimensional Printing
249(1)
Artist Profile: Michael Milano---Making limited-edition models for collectors
250(2)
Three-Dimensional Animation
252(7)
Movement in Three-Dimensional Space: The Z-axis
252(1)
Key Frames and Motion Paths in Three Dimensions
252(1)
Point of View and Camera Movement
252(1)
The Search for Realism
253(1)
Physics and Gravity
253(1)
Procedural Processes and Special Effects
253(1)
Rigging and Linked Motion
254(1)
Forward and Inverse Kinematics
255(1)
Motion-Capture and Rotoscoping
255(2)
Previewing, Rendering, and Output
257(1)
Conclusion: Animation Today and its Future
258(1)
12 The Evolution of the World Wide Web/Designing for the Web
259(29)
Introduction
259(1)
How Did the Internet Happen?
259(2)
The Origins of the Internet
259(1)
The Basic Technology
260(1)
The World Wide Web
261(1)
Inventing the Web
261(1)
Tim Berners-Lee and CERN
261(1)
What Makes the Web Work?
262(1)
Who's In Charge?
262(1)
New Considerations
263(1)
Forces in Play: IoD (Internet of Documents)
263(1)
IoC (Internet of Commerce)
263(1)
IoP (Internet of People)
263(1)
IoT (Internet of Things)
263(1)
Planning a Website
264(1)
Thinking It Over
264(1)
UX and UI Design
265(1)
The Website Interface
265(1)
Under the Hood
265(2)
Hypertext Markup Language (HTML): A Quick Look at the Basics
265(1)
Sample HTMLTemplate
265(1)
Box 12.1 Basic HTML Document
266(1)
Adding Images and Links
267(6)
Preparing Images
267(1)
Adding Images to Your Pages
267(1)
Links
267(1)
Box 12.2 Basic Coding for Links
268(2)
Defining a Site
270(1)
Basic Layout Features
270(2)
Today's Design: Cascading Style Sheets (CSS)
272(1)
Internal CSS
272(1)
External CSS
273(2)
SS3 Modules
275(7)
CSS in Action: An Animation
275(2)
Responsive Web Design: Site Flexibility
277(1)
Media Query
278(1)
Bootstrap: Mobile First Design
278(1)
A Quick Note About JavaScript and jQuery
278(1)
Box 12.3 Create a Simple JavaScript Mouseover
278(2)
Social Media and the Web Designer
280(1)
Embedding Audio and Video
281(1)
What if It Doesn't Work?
282(2)
Test Your Site
282(1)
Domain Names
283(1)
FTP: Uploading Your Site to a Server
283(1)
Box 12.4 Copyright and Creative Commons
283(1)
Alternatives to HTML and CSS Coding
284(1)
Artist Profile: Clement Valla, Postcards from the Edge
284(3)
Conclusion
287(1)
13 Game Art and Design
288(21)
Where Did It All Begin?
289(1)
Spacewar! (Wedge and Needle)
289(2)
An Industry Begins
291(2)
Game Genres
293(2)
First-Person Shooter
293(1)
Linear Adventures and Role Playing
294(1)
Sandbox Adventures
294(1)
Real-Time Strategy (RTS)
294(1)
Puzzle Games
295(1)
Platforms
295(3)
Arcades
295(1)
"Entertainment Systems"---Consoles
296(1)
Dedicated Portable Devices
296(1)
Hybrid Systems
297(1)
Mobile Phones
297(1)
Home Computer
298(1)
From Idea to Release: The Game Development Process
298(5)
The High Concept and Pitch
298(1)
Pre-Production: The Design Document
298(1)
Pre-Production: Prototype
299(1)
Artist Profile: teamLab---Game? Art? Both?
299(2)
Game Development: The Team
301(1)
Game Designer
301(1)
Game Programmer
302(1)
Game Level Editor
302(1)
Audio: Sound and Music
302(1)
Game Tester
303(1)
Game Artists
303(6)
The Concept Artist
303(1)
Storyboard Artist
304(1)
Two-Dimensional Artist
304(1)
Two-Dimensional Texture Artist
304(1)
Three-Dimensional Modeling Artist
305(1)
Animation Artist
305(1)
Special Effects Artist
305(1)
Lighting Artist
306(1)
Virtual Reality---Gaming's Final Frontier?
306(1)
The Future Is Arriving and the Past Is Always With Us
307(2)
Glossary 309(26)
Credits 335(5)
Index 340
Richard Lewis is Chair of Marist Colleges Department of Art and Digital Media and the academic coordinator of their branch campus in Florence, Italy. He is also a former Dean of Academic Programs. He is a practicing artist, whose work combines digital and traditional media, and also the author of The Power of Art (2019), now in its third revised edition, an art appreciation textbook used in over 300 colleges and universities.

James Luciana is Professor Emeritus of Art at Marist College and a former Chair of their Department of Art and Digital Media. He is an accomplished photographer in both traditional and digital techniques. His work has been extensively exhibited both in the United States and abroad. In addition to teaching at Marist College, he has taught nineteenth-century printing techniques and digital media at the International Center of Photography in New York City. He is the author of The Art of Enhanced Photography (1999) and Black and White Photography: Manifest Visions (2000).
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