Computer Graphics Career Handbook - ACM SIGGRAPH ...

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acm

Computer GraphicsCareer Handbook

Ed FergusonUniversity of Maine

Laura Carey HalasInnovative Software Solutions

Catherine Shadden KeithDesign Department, Alameda County

Stephan R. KeithSterling Software

Bob PowellIsland Graphics Corporation

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ACM SIGGRAPH Education CommitteeThe Association for Computing Machinery, Inc.

11 West 42nd StreetNew York, New York 10036

Copyright © 1991 and 1988 by the Association for Computing Machinery, Inc.Copying without fee is permitted provided that the copies are not made or

distributed for direct commercial advantage and credit to the source is given.Abstracting with credit is permitted. For permission to republish write to:Director of Publications, Association for Computing Machinery. To copy

otherwise, or republish, requires a fee and/or specific permission.

The SIGGRAPH Education Committee is sponsored by the Association forComputing Machinery's Special Interest Group on Computer Graphics.

ORDERING INFORMATION

To request price information and order copies, contact:

ACM Order DepartmentP.O. Box 64145

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SIGGRAPH member price:Non-member price:

ACM Order Number: 429-891

For SIGGRAPH membership information, contact:

ACM11 West 42nd Street

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For SIGGRAPH annual conference information, contact:

SIGGRAPH Conference Office111 East Wacker DriveChicago, Illinois 60601

(312) 644-6610

ACM ISBN 0-89791-313-2ACM ISSN 0097-8930

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Disclaimer

The Selected Readings presented throughout this document are representative examples of manypublications addressing the various elements of computer graphics and career issues. Thesepublications are listed alphabetically by title in each section of the handbook. Listing of any specificpublication does not imply ACM or SIGGRAPH endorsement.

The information presented in Section 5, "Company Statistics", was compiled from a questionnairemailed to all of the SIGGRAPH '89 conference exhibitors and prior contributors. Listing any specificcompany does not imply ACM SIGGRAPH endorsement. ACM SIGGRAPH is not responsible forthe accuracy of the information provided by respondents to the questionnaire.

The opinions expressed in this handbook are not necessarily those of ACM or SIGGRAPH.

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This material is based upon work supported by ACM SIGGRAPH. We would like to thank MaxineBrown and Sara Bly, former SIGGRAPH Vice Chairs for Operations, and Tom DeFanti, formerSIGGRAPH Chair, for their very early, active support of this project, and Richard J. Beach, ACMSIGGRAPH, Editor-in-Chief.

We would also like to thank all of the SIGGRAPH Executive Committee members, especially JudithR. Brown, SIGGRAPH Vice Chair for Operations and former Computer Graphics Career HandbookChair, Dr. Steve Cunningham, former Education Committee Chair, and Scott Owen, EducationCommittee Chair, for their enthusiastic support of this and other Education Committee activities.

Acknowledgements

CONTENTS

ACKNOWLEDGEMENTS iv

INTRODUCTION ix

CAREERS IN COMPUTER GRAPHICS 6

NO "COMPUTER GRAPHICS" JOBSIN THE CLASSIFIEDS 12

CATEGORIES

2.0 INTRODUCTION 18

2.1 ART/ANIMATION 23

2.2 CAD/CAM/CAE 27

2.3 PRESENTATION GRAPHICS 31

2.4 SIMULATION 35

2.5 IMAGE PROCESSING 39

2.6 SYSTEMS DESIGN, SYSTEMS HARDWARE,AND SYSTEMS SOFTWARE 43

2.7 SCIENTIFIC VISUALIZATION 49

CAREER PROFILES

3.0 CHRISTINE BARTON 54Computer Graphics Project Manager

3.1 KEVIN BJORKE 56Technical Director for Animation

3.2 KELLOGG S. BOOTH 58Academic

3.3 JUDITH R. BROWN 61Visualization Consultant

CONTENTS

CAREER PROFILES

3.4 ANNETTE BURR COAN 63Employer Needs: Computer Graphics inAdvertising and Design

3.5 STEVE CUNNINGHAM 69Undergraduate Computer Graphics Instructorin Computer Science

3.6 LARRY ELIN 71Computer Graphics Management in Advertising

3.7 GEOFFREY Y. GARDNER 73Computer Image Generation in Aerospace

3.8 HANK GREBE 75"A Bridge Between Two Worlds"

3.9 D.E. HEARD 78Technical Training Manager

3.10 HOLLIDAY R. HORTON 80An Artist in a Science Environment

3.11 STEPHAN R. KEITH 83Scientific Visualization

3.12 CARL MACHOVER 87Computer Graphics Consultant

3.13 AARON MARCUS 89Independent Computer Graphics Consultant

3.14 MIKE MC CULLEY 92Art Director

3.15 THERESA-MARIE RHYNE 95Portrait of a Computer Artist

3.16 TIM SKELLY 97Art Director

3.17 STEPHEN R. SPENCER 100Supercomputer Graphics Research Specialist

3.18 JAMES J. THOMAS 102Lead Scientist

CONTENTS

CAREER PROFILES

3.19 KATHY WOLFINGER 105Technical Writer

3.20 THOMAS WRIGHT 108Graphics Systems Software Professional

COLLEGES AND UNIVERSITIES

4.0 USING THE DIRECTORY 112

4.1 COMPUTER GRAPHICS CONCEPTSAND SYSTEMS 114

4.2 COMPUTER GRAPHICS INENGINEERING, CAD/CAM ANDDRAFTING 152

4.3 COMPUTER GRAPHICS IN THE ARTS,ARCHITECTURE, AND DESIGN 161

4.4 COMPUTER GRAPHICS INGEOGRAPHY AND GEOLOGY 181

4.5 OTHER COMPUTERGRAPHICS APPLICATIONS 185

4.6 COMPUTER GRAPHICS BIBLIOGRAPHY 186

COMPANY STATISTICS 189

THE JOB SEARCH PROCESS

6.0 INTRODUCTION 225

6.1 EMPLOYMENT OPPORTUNITIES 225College Placement CentersClassified AdsNetworkingJob FairsPlacement AgenciesConferences

6.2 LETTERS OF INTRODUCTION AND RESUMES 227Letters of IntroductionResumesReferences

CONTENTS


6.3 PORTFOLIOS 228

6.4 INTERVIEWS 228Peparing for the InterviewFollowing Up

6.5 IN CLOSING 229

6.6 SELECTED READINGS 229

APPENDICES

A.O IMAGE CREDITS 230

B.0 HANDBOOK CREDITS 236

INTRODUCTION

This handbook provides computer graphics career data for those individuals who wish to begin a careerin one of the many computer graphics career categories. It is targeted for students who wish to enterthe field, educators who need to answer career guidance questions, and professionals wishing to makea career change. It should answer the three basic questions asked by those who are interested incomputer graphics careers:

• What are the career opportunities in computer graphics?

• What kind of training is needed to qualify for these careers?

• Where can I get the training for these careers?

The handbook presents an overview of computer graphics, adapted from an earlier article in theSIGGRAPH publication, Computer Graphics, and the results of two Education Committee surveys.These surveys have provided us with some insights into Computer Graphics careers and trends withinthe various career categories. One survey examined the skills necessary for a career in the variouscategories of computer graphics. The other identified computer graphics companies and the kinds ofopportunities in each.

A Computer Graphics Education Directory provides a listing of colleges and universities offeringcourses in computer graphics. This directory outlines classes, subjects and institution contact data.The directory is regularly updated and published in the SIGGRAPH publication, Computer Graphics.

A brief overview of the job search process is presented. It is intended as an introduction to the jobsearch process for the novice, and as a review for the professional.

INTRODUCTION

INTRODUCTION

CAREERS IN COMPUTER GRAPHICS

SECTION 1


WHAT IS COMPUTER GRAPHICS 6

NO "COMPUTER GRAPHICS" JOBSIN THE CLASSIFIEDS 12

SIGGRAPH CAREER HANDBOOK


Judith R. BrownACM SIGGRAPHVice-Chair for Operations

What IsComputer Graphics?

For something to be considered “computer graphics", the image must be created on, orenhanced with, a computer. From this point, the definition is vague, somewhat on theorder of “What is, or is not, art?” In general, you think of the computer graphic as beinga picture rather than text. However, the quickly growing field of desktop publishingrelies on the computer for page design and layout of predominantly textual information.Also, text can be used very creatively in graphic design.

The computer graphic is created through the use of a computer, but how the computeris used differs widely. The image may be entirely created through mathematicalformulas. Or, it might be created through a traditional means, such as photography, andenhanced with the computer. Fields of image processing and multi-media art rely onsuch combinations of techniques. Computer graphics are not created “by” the computer,however. The computer is merely a tool, and the creativity comes from the programmeror user.

Careers inComputer Graphics

Information is unquestionably today’s most important commodity. Computer graphics,as a means of expressing that information, now appears in virtually every applicationarea, no matter how seemingly obscure. For example, techniques similar to those useda few years ago to chart the surface of the moon are now being used in a Skin ImagingComputer to select cosmetic supplies.

The most important distinction in computer graphics careers is between working in thecomputer graphics industry and using computer graphics as a tool in an occupationwhose main focus is not computer graphics. By “working in the computer graphicsindustry,” we mean the jobs of researching, designing and marketing graphicsequipment, researching and writing graphics languages, libraries, and applicationsoftware, preparing documentation, consulting on graphics hardware and software, andteaching graphics courses. Careers in these areas require more extensive knowledge ofcomputers in general and computer graphics in particular than do careers involvingapplications which use graphics work stations. In both cases, however, some specialtyis required in addition to computer graphics experience.

The Graphics Industry

As we suggest above, the facets of the computer graphics industry itself are equipment,marketing, software, documentation, consulting, and teaching. Below we describegeneral aspects of careers in more detail.

CAREERS IN COMPUTER GRAPHICSpage 7

If you want to do research and design graphics hardware, a background in engineering,in addition to knowledge of computer logic and computer graphics, is necessary. Newdisplay or image production techniques are being developed, and so are specializedcomputer architectures with graphics-specific features. There is much promise forcareers in this area, especially with the proliferation of personal computer graphics andthe demand for high resolution.

If you are interested in marketing computer graphics equipment or software ormanaging the production of hardware or software, you need business administrationskills and interpersonal skills. The graphics marketplace is booming, and there are manyopportunities for creative and resourceful persons to develop its potential. It isimportant, however, that you understand the nature of graphics and its technology, oryou can be lost in this very volatile market.

A computer science background is necessary for graphics software development.Graphics systems require large and complex programs with many sophisticatedalgorithms, extensive data bases, and careful user interfaces. Although graphicsprograms have been developed in all environments, Fortran and C are the predominantlanguages, according to the survey results in Section 2. It would be beneficial foreveryone if all graphics programmers and analysts understood graphics standards andproposed standards, for the art of graphics programming, like all other aspects ofcomputing, has become a mature science. Until standards in all areas become a reality,knowledge of hardware and software device interfaces will continue to be important.

In order to write technical documentation, you must first have sound writing skills. Inaddition, you need a computer science, engineering, or other technical background,depending on whether you are writing about hardware or software. Writingdocumentation for graphics systems does not differ much from other kinds of technicalwriting for the computer industry except that the author must, of course, understand thegraphic concepts of the subject.

Graphics consulting requires excellent interpersonal and communication skills,computer science background for software consulting, and technical “know-how” forhardware consulting. Above all, you need to read, read, read to keep up with the dailydevelopments in both hardware and software.

Teaching computer graphics requires the usual “teacher’s skills”—oral and writtencommunication skills, explanatory ability, and self-confidence in addition to thespecialized background (art, engineering, education, etc.) of the students you areteaching. As is the case with all teaching in computer-related areas, persons withgraphics teaching skills are in short supply.

All these graphics careers require education in computer graphics itself. Formaleducation is becoming more widely available now, with many college or universitylevel courses in the subject. Details on these courses are provided in Section 4.


Computer GraphicsApplications

In non-computer applications, computer graphics is primarily a tool. For example, ingeography, medicine, education, computer-aided design, or fine arts, the most importantthing is to have a background (one or more college degrees) in your chosen specialty.Then, you need varying amounts of additional computer and computer graphics training.The vast majority of people over the age of 40 who currently have key positions in thefield of computer graphics do not have a formal background in computer graphics simplybecause the field is so new and has exploded so dramatically in recent years.Opportunities for a formal computer graphics education were not commonly availableuntil recently. The requisite skills were acquired “on your own” by reading books andother regular publications and by attending seminars, tutorials, and conferences such asthe ACM SIGGRAPH annual conference. However, the number of computer graphicscourse offerings around the country has grown tremendously, and many of these are inapplication areas. Some colleges offer extensive training in computer graphics, but moreand more colleges and universities are beginning to offer some studies, includingapplications courses.

We urge you to take whatever courses are available at your institution and considertransferring to another college or university if the offerings at your institution areinadequate. Taking even one course can make a difference. We know of a theatre studentwho was chosen for a job in lighting design and stage management because he had takena beginning computer graphics course in addition to his fine arts curriculum. Theemployer told the student that the distinguishing factor between the other job applicantsand himself was that he had some knowledge of computer graphics.

In nonacademic theatres, the largest use of computers is administrative. There isincreased use of personal computers and management tools, such as data bases, projectmanagement tools, and spread sheets. Accordingly, the predominant graphicsapplication is business graphics. There is increasing use, especially in academictheatres, of computer-aided design tools for stage design and lighting design drafting.The software does not yet exist to allow lighting designers to simulate actual effects oflighting, but the drafting tools are available. Most of the design work is two-dimensional, although some CAD packages have three-dimensional extensions. Actualthree-dimensional modeling is still too expensive both in terms of time and equipment.

According to David Sealey, consultant for computer laboratories in theatre andcommunications departments at The University of Iowa, more programming skills areneeded in an academic theatre than in a non-academic theatre. Software used for designapplications in the theatre is usually designed for architectural applications and must beadapted to the theatre. Since there isn’t time to do this in nonacademic theatres, fewercomputer graphics applications are likely. Here, one needs basic applications skills withsome minimal programming skills to help in understanding how the applications work.In an academic theatre, one needs more programming skills and microprocessorexpertise to be able to adapt existing packages. One also needs hardware expertise to beable to maintain, as well as use, microprocessors in such things as lighting control.“Although new things are traditionally developed in academic theatres and passed on tononacademic theatres,” says Sealey, “the opposite is generally true in communicationsdepartments.” Although there are exceptions, such as Images II developed at New York


Institute of Technology, most systems used by television studios were developed inindustry. Academic communications departments are working to include these systemsin their courses.

Most computer graphics used in communications areas is two-dimensional and is in thearea of postproduction, such as titles and special effects. The need here is for an artistwho can use a computer system. The basics of art, color theory, and visual skills areessential. In addition, knowledge of a variety of applications is desirable, as well as someprogramming in order to understand the applications better.

Our studies of careers in computer graphics applications indicate that computer-aideddesign is a rapidly expanding career field. A survey of over 500 industries in Kentuckyand Tennessee by Dr. Kenneth Mussnug, Western Kentucky University, indicates agrowing need for industrial technologists to have training in computer-aided drafting,data base management, and numerical control, as well as the ability to apply thesecomputer technologies to industrial production.

Our contacts with those who hire programmers or engineers in the area of computer-aided design (CAD) indicate the need for a high level of mathematical and scienceknowledge, familiarity with existing graphics packages and data base operations, andgood communication skills, especially oral communication skills. Every company putstogether different combinations of qualities desired in the people they hire. However,the most often-repeated demand is for experience on one or more graphics systems.Even if the experience is on a system different from that of the company involved,employers feel that a person who has experience with one system can easily and quicklylearn a new system.

The tough question to answer is “How do you get the experience?” Part of the answerlies in formal CAD education, as provided in courses listed in Section 4. In addition, youmight ask companies if you can arrange to use their equipment during off hours. Forexample, a draftsman offered a local company 30 to 40 hours of his time as a skilleddesigner and draftsman if they would allow him to learn their new computer-aideddesign system.

In addition to CAD, engineering uses graphics tools in many other areas. For example,a part of component design might be finite-element methods of stress testing orsimulations which use graphic displays to illustrate results. This expansion will clearlycontinue, so that anyone going into computer applications in engineering should havesome graphics background. Michael McGrath, Professor of Engineering at ColoradoSchool of Mines, is investigating the effects of the emergence of computer graphics onthe engineering curricula.

Use of computer graphics as an artistic tool exploded some years ago, highlighted by theuse of computers in commercial art and movies such as Tron and The Last Starfighter,and more recently, The Abyss. Elizabeth Van Dusen, Director of Beyond the HorizonArt Gallery, New York, says “computer artists are like all artists, only hungrier. Art,rather than the medium, makes the artist.” What does an artist need to know aboutcomputer graphics to gain employment? This question has generated a great deal ofdiscussion in recent meetings of directors and instructors of schools and departments forcomputer art.


Geographers and cartographers also use computer graphics heavily in their work.Employment opportunities exist with the traditional mapping employers: mapmakers,government agencies, and geophysical exploration branches of oil and miningcompanies. This area is still expanding and should offer opportunities for some time.Helen LaFlare, systems engineer and consultant who has developed applications ingeophysics and oil exploration, indicates that knowledge of principles of data formatsand file management are important in this area, as are graphing techniques and aristicdesign skills.

Molecular modeling is another rapidly growing application area of computer graphics.According to an article by Dr. D. N. J. White, University of Glasgow, in the October,1985, IEEE Computer Graphics and Applications, students who are interested in careersin this field need a strong background in crystallography at the graduate levels in additionto physics, chemistry, and biochemistry at the undergraduate level. The mathematicalcontent in the biological sciences should be very high.

There is increased use of computers in most administrative departments to handle theflood of information. Hence, using graphical techniques to display information has ledto graphics specialists in information centers within the data-processing departments oflarge companies. People with graphic skills who are interested in business computingmay have opportunities to carve out interesting career niches creating informationaldisplays.

We have summarized the skills relevant to each of a number of disciplines. Frequently,however, projects are accomplished by a team of specialists. While it may be beneficialfor the artist to understand programming and for the programmer to possess artisticability, it may not be essential. It is sometimes more efficient for them to work togetherto maximize their talents, which is why communication skills are very important. Oneof the most pertinent examples of this is in the area of computer-aided design andcomputer-aided instruction. Designing instructional software might involve a highlytechnical, efficient programmer, an instructional design specialist, a specialist on userinterface and ergonomic aspects, a content specialist, and a graphics artist.

This section is adapted from an article by Brown and Culanag in February, 1986,Computer Graphics.

SIGGRAPH CAREER HANDBOOKpage 12

NO “COMPUTER GRAPHICS” JOBS IN THE CLASSIFIEDS

Professor Del CoatesProfessor of Industrial DesignSan Jose State University

Computer Graphics:The Employment Dilemma:

As an educator, I am often confronted with this dilemma: a voice on the phone says, “Do you havecourses that will prepare me for a computer graphics position?” I have to answer both “Yes” and “No.”Yes, we have computer graphics courses. But no, we don’t train people for computer graphics jobs.Although the occasional ad for someone to do “computer graphics” does pop up in the classifieds,“computer graphics” hardly qualifies as a job classification.

Computer graphicsis a means–not an end

Despite our fascination with computer graphics, we should not think of it as an end in itself, but onlyas a means to some grander objective. Majoring in computer graphics would be akin to majoring inword processing in order to become a novelist, or majoring in “pencil” to become an artist. One firstdecides what he or she wants to do, and then decides which medium is most appropriate and/orappealing.

True, artists and designers take courses in drawing which hone their pen and pencil skills. And,increasingly, schools, universities, and colleges are adding computer graphics courses because thecomputer, increasingly, is becoming the medium of choice. But drawing tools are merely necessarymeans–literally media–to ends. Having learned to draw with a pencil, an artist should be able to drawwith a lump of charcoal, a stick of chalk–or a computer. Practice and additional knowledge about thepeculiarities of any medium an artist is unaccustomed to may be required but, fundamentally, thecomputer and the pencil are interchangeable and subservient to the fundamental capacity to draw.

So, “Computer graphics artists” are, first of all, artists. Designers, engineers, scientists, and computerprogrammers–who happen to use computers–are defined also by what they do and not by the mediathey employ. Indeed, users of computer graphics come from virtually all fields where visual imageryis valuable or necessary. They are using computers and computer graphics in increasing numberssimply because computers are proving to be so powerful and versatile, especially as visualizationmedia, regardless of the application.

Nevertheless, which field would I choose to studyif my most compelling interest were computer graphics?

Suppose someone graduating from high school or seeking a change of careers did put the cart beforethe horse, and planned to enter college with the primary objective in mind of getting involved withcomputer graphics. If present trends hold, virtually anything one does in the future will involvecomputers, and many forms of livelihood will involve computer graphics.


Many office workers, who did not deal with graphs in the past, now routinely create bar charts and piecharts on their desktop computers for their proposals, analyses, and reports. But certain fields, like thevisual arts, are graphics-intensive by their very nature. And others, like many of the sciences, arebecoming more graphics-intensive as computer graphics opens new possibilities for visualizing data,concepts, and phenomena. I’ll concentrate on those.

Present and emerging graphics-intensive fields can be sorted into three broad categories, defined bythe objectives and constraints which tend to set them apart:

• Knowledge driven fields like science and researchbiologychemistryphysicsetc.

• Function driven fields like engineeringaeronauticalaerospacecivilarchitecturalelectricalmechanicalstructuraletc.

• Aesthetics driven fieldsanimation (movies, television, and video)architecturefine artsgraphic designindustrial designinterior designetc.

In some cases, the use ofcomputers is virtually imperative

A computer programmer developing graphics software is an obvious example of someone who cannotdo his or her job without a computer. Such a career, incidentally, comes about as close as possible tobearing the title "computer graphics." However, you might not find the satisfaction you seek becausecreation of images would not be the primary requirement of your job; creation of graphics softwarewould be.

Choosing a career in engineering, architecture or any design field today is tantamount to choosing acareer in computer graphics. Virtually any organization you are likely to work for will have made thecommitment to computer-aided design and engineering. The computer is rapidly becoming the defacto standard medium. Computer graphics skills, alone, will not suffice to land a job, of course(although a potential employer will likely appreciate your mastery of CAD enough to prefer you tosomeone without it).


Where aesthetic issues are important (especially industrial design and graphic design), you will stillneed to master traditional visual communication skills (drawing and rendering). Even thoughcomputers are getting quite good, they are not good enough, yet, or quick enough, to take over entirelyfor designers.

In other cases, the medium ismerely a matter of choice

A fine artist can opt for a computer, rather than more traditional media like oil paints or watercolors,as a matter of personal choice. A chemist might use computer graphics because it is the easiest andmost effective way to visualize molecules. The choice here is not trivial, of course, because computergraphics gives the artist the means for doing something which could not be done before and, thereby,opens entirely new prospects - and makes the chosen field more exciting and rewarding.

Some fields offer a broadergamut of possibilities

The multidisciplinary nature of aesthetics-driven fields such as architecture and industrial design isreflected in the fact that you find them in both schools of art and engineering depending on where theyhappened to take root within the university (indeed, some universities have schools of architecturaldesign). The generality of these fields also require that they have tools which characterize bothextremes of the computer graphics continuum:

• As typified by CAD technology:accurate modelinganalysis and optimization toolsdimensioned documentationdatabases suitable for tooling and manufacturing

• As typified by animation technology:photorealistic renderingkinematic depictions"walk through" capability

Consequently, individuals in these fields have the opportunity to experience the full gamut of computergraphics, from 3D modeling and analysis of complex objects to photorealistic renderings andanimation.

ConclusionIn the final analysis, many careers offer rich opportunities to work with computer graphics. Whichfield you choose should be determined primarily by your interest and aptitudes, not by the fact thatcomputer graphics plays a role. If you choose something you like and that you are good at, you willhave the greatest opportunity to be among the best in the field. Even if computers are not customarilyused as graphics media, given your interest in computer graphics you will find a way to apply them,and apply them well, which may be the most exciting way of all to be involved with computer graphics.

CATEGORIES

Scientific Visualization

Art and Animation

Simulation

Presentation Graphics

CATEGORIES

INTRODUCTION 18

ART/ANIMATION 23

CAD/CAM/CAE 27

PRESENTATION GRAPHICS 31

SIMULATION 35

IMAGE PROCESSING 39

SYSTEMS DESIGN,SYSTEMS HARDWARE,AND SYSTEMS SOFTWARE 43

SCIENTIFIC VISUALIZATION 49

SECTION 2


Introduction

The ACM SIGGRAPH Education Committee surveyed Computer Graphics professionals in1986 and published the results in the first edition of this handbook. Another survey wasconducted in 1989 and early 1990. The results are presented in this handbook edition. Noattempt has been made to interpret the results of either suvey.

The data prepresented was compiled from questionnaire responses from active computergraphics professionals in urban areas, who are generally members of SIGGRAPH.

Our questionnaire gathered information to help those individuals who are interested inentering a field of computer graphics to get a better understanding of the various careerapplication areas. The data includes special training or skills which are useful in particularapplication areas. The categories for application areas we identified are:

Art/Animation CAD/CAM/CAE Image Processing Presentation Graphics Simulation Systems Design Systems Software Systems Hardware Scientific Visualization

Each application area was further broken down into different kinds of professional involve-ment, as follows:

Consultants: people who advise on, assist with, or implement computer graphicshardware, software and/or systems as independent contractors.

Designers: people who design and construct hardware, software and/or systems to docomputer graphics.

Educators: people who teach the principles, practices and usage of computer graphicshardware, software and/or systems.

Managers: people who manage personnel and/or project resources to accomplish tasksor create products for computer graphics.

Researchers: people who do research in computer graphics.

Users: people who use computer graphics for applications in their jobs.

CATEGORIES

2.0 Introduction

CATEGORIESpage 19

ObservationsThe results of the 1986 SIGGRAPH Computer Graphics Careers survey allowed us to makethree observations, which were corroborated in the 1989/90 survey.

The First Observation

Most computer graphics professionals are multidisciplinarians. Everyone who responded tothe questionnaire works in at least two applications areas, and some work in as many as fourapplication areas.

This makes sense when we recall that computer graphics was originally an experimentalfield. Many aspects of computer graphics are still in experimental stages of development. Inorder to make early computer graphics systems work, people needed to learn computerlanguages, operating systems, hardware and communications as well as computer graphics.Since there were often no resources to support the highly specialized needs of computergraphics, computer graphics experimenters had to do the work themselves. This forced themto develop general skills. Computer graphics software and hardware products haveimproved, but a person working in computer graphics will fare better with some knowledgeand experience in as many areas as possible.

The Second Observation

Our next observation is that written and personal communications skills are extremelyimportant for computer graphics professionals. The general category identified as Commu-nications Skills was described as very important by 80% to 98% of the respondents,depending on their application area. It is interesting that there is such strong agreement ona skill that is not technical and is not related to computing. There are two reasons for thisagreement.

One reason personal communications skills are important is that computer graphics is bynature a communications medium. To use it effectively, you need to know how to formulateyour ideas and how to communicate your thoughts and ideas efficiently, both visually and inwriting. Hence, our study corroborated the need for such skills.

The second reason graphics people need personal communications skills is to be able toconvince others to buy or use computer graphics. To get someone to buy or use computergraphics, you must convince the people with the money that it’s a good idea. Usually, theagencies with the money do not have the technical knowledge to make a financially wisedecision. Even when they hire someone who can make a wise technical decision, they stillneed justification. Whether you are advertising a product to sell or preparing a proposal foryour manager to purchase equipment, you must be convincing. Although computer graphicssystems are much more advanced and less expensive than they once were, they still costmoney and are often considered a luxury item. You must be able justify the expense. It isour experience that project budgets require clear, well presented proposals. While not allproposals make it to the project state, no project will even get started without a proposal.

The Third Observation

Our last observation from the SIGGRAPH careers survey is that UNIX is becoming theoperating system of choice, and C the programming language of choice, for computergraphics work. This may be a result of the existence of so many computer graphics

2.0 Introduction

SIGGRAPH CAREER HANDBOOK2.0 Introduction

workstations with UNIX and C compilers. Other operating systems used for graphics includeVMS, found on DEC computer systems, and MS/DOS, found on many personal computers.Other languages for graphics include FORTRAN and PASCAL.

1989 Survey ResultsIn the 1986 careers survey, we observed some commonly used skills, which included UNIX,C and Communications Skills. In the 1989/90 careers survey, we observed a greater degreeof commonly required skills. These skills are used in all application areas and are employedby 45% or more of the 1989/90 survey respondents:

Computer Skills: structured software design, programming, data structures, the C program-ming language, UNIX and operating systems principles. (FORTRAN was next, used by 30%to 40% of the 1989/90 survey respondents. PASCAL and LISP were the third and fourth inprogramming language choices.)

Non-Computer Skills: communications (94% to 100%), writing, public speaking, presen-tation, personal management, management, technical management, graphics arts, color.

Computer Graphics Skills: the required skills did vary widely dependent upon theapplication area, which are described in detail in the following Categories Section.

With regard to hiring criteria, although there was some slight variation from the mean, therewas general concurrence across all application areas. Hiring critieria were specified basedupon their level of importance. A zero meant it was of no significance. A one meant leastimportance; a three meant average importance. Five signified extreme importance. Here arethe results:

Computer Programming Skills 5Mathematical Background 3 - 4Science Background 3Artistic Ability 3Creativity 5Written Communications Skills 3 - 5Oral Communications Skills 4 - 5College Degree (B.S., B.A.) 3College Degree (M.S., M.A., Ph.D.) 3Job Training (entry level) 3No Job Training (go to work) 3Student Internship 3Years of Experience 4

Summary

Since graphics people tend to be multidisciplinarians, the survey results suggests thatcomputer graphics professional should be knowledgable of the UNIX, VMS and MS/DOSoperating systems. It also suggests that a knowledge of C, FORTRAN and PASCAL wouldbe helpful. Other knowledge may also be helpful, depending on your application. Forexample, where Expert Systems, Artificial Intelligence and Computer Graphics are mixed,the LISP language is widely used.

CATEGORIESpage 21

Selected Readings

Selected general readings are provided for each application area. The following is a list ofbooks on computer graphics.

• The Beauty of FractalsH. Pietgen, P. Richter, ©1986, Springer-Verlag

• Computer GraphicsDonald Hearn, M. Pauline Baker, © 1983, Prentice-Hall

• Computer Graphics, TutorialKellogg S. Booth, ©1979, IEEE

• Fundamentals of Interactive Computer Graphics,J.D. Foley, Andries Van Dam, © 1982, Addison-Wesley

• Introduction to the Graphical Kernal System (GKS)F.R.A. Hopgood, D.A. Duce, et al., © 1983, Academic Press

• Mathematical Elements for Computer GraphicsDavid F. Rogers, J. Alan Adams, © 1976, McGraw-Hill

• A Practical Introduction to Computer GraphicsIan O. Angell, © 1984, McMillian Press

• Principles of Interactive Computer GraphicsWilliam F. Newman, Robert F. Sproull, © 1979, McGraw-Hill

• Procedural Elements for Computer GraphicsDavid F. Rogers, © 1985, McGraw-Hill

• Techniques for Computer GraphicsDavid F. Rogers, Rae A. Earnshaw, © 1987, Springer-Verlag

• Tutorial, Interactive Computer GraphicsHerbert Freeman, ©1984, IEEE

2.0 Introduction

SIGGRAPH CAREER HANDBOOK2.0 Introduction

CATEGORIESpage 23

Art/Animation

Definition - Art and Animation 24

Careers Questionnaire Statistics 24

Selected Readings 25

2.1 Art/Animation


Definition -Art and Animation

Art and animation applications use computers to create fine and commercial art.Computer generated art may be used for advertising, publications or film making.Computer animation can take either two-dimensional or three-dimensional form. Two-dimensional animation uses flat images for creating characters and/or backgrounds.Three-dimensional animation requires modeling or model design. Geometric modelsare stored in a computer and can be rotated, translated and scaled as needed to create andmanipulate images. More sophisticated three-dimensional animation systems allow thedesign and manipulation of complex scenes and characters for film making. Most three-dimensional animation is used in advertising.

Careers QuestionnaireStatistics

Most respondents hold one or more of the following college degrees:

Discipline Degree Requirements

Art B.F.A. or M.F.A.Computer Science B.S. or M.S.Mathematics B.S., M.S. or Ph.D.

The skills within each of the following categories are listed in order of importance by thelargest number of respondents:

Computer Skills: Programming [74%], C [68%], UNIX [62%], Data Structures[48%], FORTRAN [22%], Software Engineering [44%], Structured SoftwareDesign [42%]

Non-Computer Skills: Communication [96%], Writing [86%], Personal Manage-ment [86%], Presentation [78%], Public Speaking [70%], Graphic Arts [68%],Color [52%], Technical Management [50%], Traditional Animation [49%]

Computer Graphics Skills: Computer Graphics Fundamentals [80%], RasterGraphics Techniques [78%], 3D Computer Graphics [74%], 3D Computer Anima-tion [70%], 2D Computer Graphics [68%], Video Graphics Techniques [62%],Image Rendering Techniques [60%], 2D Computer Animation [56%]

ART/ANIMATION

2.1 Art/Animation

CATEGORIESpage 25

State of the Profession

1989/90 1986

76% 79% liked their work;16% 70% think entry into the field looks good over the next year;54% 42% recommend that others enter this professional area.42% n/a have formal Computer Graphics Training72% n/a have on the job training50% n/a are self taught

Selected Readings

• Art and the ComputerMelvin L. Prueitt, © 1984, McGraw-Hill

• Career Opportunities in ArtSusan H. Hubenstock, David Joselit, © 1988 Facts On File

• Career Opportunities in Television, Cable and VideoMaxine K. and Robert M. Reed, © 1986 Facts On File, Inc.

• Computer AnimationJohn Halas, © 1974, Focal Press Limited

• Computer Graphics, Computer ArtH.W. Franke, © 1985 Springer-Verlag

• Computer Graphics for Designers and ArtistsI.V. Kerlow, J. Rosebush © Van Nostrand Reinhold

• The Computer ImageD. Greenberg, A. Marcus, © 1982, Addison-Wesley

• Computer Images, State of the ArtJ. Deken, © 1983, Stewart, Tabori & Chang

• Creative Computer GraphicsA. Jankel, R. Morton, Eds., © 1984, Cambridge University Press

• Graphics in MotionJohn Halas, © 1981, Van Nostrand Reinhold

• Microcomputer Displays, Graphics, & AnimationBruce A. Artwick, © 1984, Prentice-Hall

• TV Careers Behind the ScreenJane Blankstein, Avi Odeni, © 1987, John Wiley & Sons

2.1 Art/Animation

SIGGRAPH CAREER HANDBOOK2.2 CAD/CAM

CATEGORIESpage 27

CAD/CAM/CAE

Definition - CAD/CAM/CAE 28



2.2 CAD/CAM


CAD/CAM/CAE

Definition -CAD/CAM/CAE

CAD, CAM and CAE mean Computer Aided Design, Computer Aided Manufacturing,and Computer Aided Enginering respectively. These areas represent one of the largestand most well established uses of computer graphics. Computer Aided Design personneluse CAD workstations to design a tremendous range of things, including cars, engineparts, complex computer circuitry, and airplanes. CAM personnel use the results ofCAD work to manufacture parts. Very often, CAM software will produce machiningcontrol tapes, called NC tapes, to drive milling machines to mass produce parts. CAEpersonnel use computer graphics to aid in solving engineering problems, such as systemsdesign.




Computer Science B.S., M.S. or Ph.D.Mathematics B.S., M.S. or Ph.D.


Computer Skills: Programming [83%], C [72%], Data Structures [69%], SoftwareEngineering [63%], Structured Software Design [61%], UNIX [61%], FORTRAN[25%], PASCAL [7%]

Non-Computer Skills: Communication [91%], Writing [83%], Personal Manage-ment [75%], Presentation [69%], Public Speaking [66%]

Computer Graphics Skills: Computer Graphics Fundamentals [77%], 3D Com-puter Graphics [75%], 2D Computer Graphics [72%], Raster Graphics Techniques[69%], Computer Aided Design Principles [66%], Vector Graphics Techniques[52%], Wireframe [52%], Spline Algorithm Techniques [50%], Video GraphicsTechniques [52%], 3D Computer Animation [47%], Image Rendering Techniques[44%], Solid Modeling Principles [44%], Freeform Curves and Surfaces [44%],Phong Shading Principles [41%]

2.2 CAD/CAM/CAE

CATEGORIESpage 29


1989/90 1986

80% 77% like their work;75% 57% think entry into the field looks good over the next year;66% 60% recommend that others enter this professional area.30% n/a have formal Computer Graphics Training52% n/a have on the job training50% n/a are self taught

Selected Readings

• CAD: Principles and ApplicationsP. Barr, R. Krimper, © 1985, Prentice-Hall

• Computational Geometry, An IntroductionFranco P. Preparata, Michael Ian Shamos, © 1985, Springer-Verlag

• Computational Geometry for Design and ManufactureT. Field, © 1984, McGraw-Hill/Osborne

• Computer Aided Design, Fundamentals and System ArchitecturesJ. Encarnacao, E.G. Schlechtendahl, © 1983, Springer-Verlag

• Computer Graphics and Geometric Modeling Using Beta-splinesBrian A. Barskey, © 1988 Springer-Verlag

• Curves and Surfaces for Computer Aided Geometric DesignGerald Farin, © 1988, Academic Press

• Elements of Computer Aided Design & ManufacturingY.C. Pao, © 1984, John Wiley & Sons

• Geometric ModelingMichael E. Mortenson, © 1985, John Wiley & Sons

• Interactive Graphics in CADY. Garden, M. Lucas, © 1984, Unipub

• Introduction to CADD. Voisinet, © 1983, McGraw-Hill

• The Mathematical Description of Shape and FormE.A. Lord, C.B. Wilson, © 1986, Ellis Horwood

2.2 CAD/CAM/CAE

SIGGRAPH CAREER HANDBOOK2.2 CAD/CAM

CATEGORIESpage 31

Presentation Graphics

Definition - Presentation Graphics 32



2.3 Presentation Graphics


PRESENTATION GRAPHICS

Definition -Presentation Graphics

Presentation graphics includes using graphics to prepare any form of corporate presen-tation. It is a smaller but well established professional concern in the graphics field.Presentation graphics includes business graphics, which use pie charts, bar charts andother forms of graphic representation and enhancement of data to communicatequantitative information. Other management tools such as time management charts andPERT, or critical-path charts, use graphic techniques to help guide and managepersonnel, resources, projects, and manufacturing.




Art B.F.A. or M.F.A.Computer Science B.S. or M.S.Mathematics B.S. or M.S.


Computer Skills: Programming [80%], C [66%], UNIX [60%], Data Structures[60%], Operating Systems [58%], Structured Software Design [58%], Other Oper-ating Systems (VMS, MVS, MSDOS), FORTRAN [38%], PASCAL [22%]

Non-Computer Skills: Communications [98%], Writing [92%], Personal Manage-ment [90%], Presentation [82%], Public Speaking [66%], Technical Management[64%], Graphic Art [64%], Color [56%]

Computer Graphics Skills: Computer Graphics Fundamentals [78%], RasterGraphics Techniques [76%], 2D Computer Graphics [76%], 3D Computer Graphics[68%], Vector Graphics Techniques [56%], Video Graphics Techniques [48%],Wireframe [48%], Image Rendering Techniques [46%], 3D Computer Animation[44%], 2D Computer Animation [38%]


CATEGORIESpage 33


1989/90 1986

80% 78% like their work78% 67% think job entry looks good over the next year;66% 42% recommend that others enter this professional area24% n/a have formal Computer Graphics training62% n/a have on the job training in Computer Graphics58% n/a are self taught in Computer Graphics

Selected Readings

• Applied Concepts in Microcomputer GraphicsBruce A. Artwick, © 1984, Prentice-Hall

• A Contribution to Computer TypesettingN. M. Wolcott, J. Hilsenrath, © 1976, National Bureau of Standards

• Handbook of Graphic PresentationCalvin F. Schmid, Stanton E. Schmid, © 1979, John Wiley & Sons

• Interactive Microcomputer GraphicsChan S. Park, © 1985, Addison-Wesley

• Microcomputer Displays, Graphics, and AnimationBruce A. Artwick, © 1984, Prentice-Hall

• Microcomputer Graphics Using PascalR. Halpern, © 1985, Harper & Row

• PostScript Language Program Design (the Green Book)Adobe Systems Inc., © 1988, Addison-Wesley

• PostScript Language Reference Manual (the Red Book)Adobe Systems Inc., © 1985, Addison-Wesley

• PostScript Language Tutorial and Cookbook (the Blue Book)Adobe Systems Inc., © 1985, Addison-Wesley

• Real World PostScriptEdited by Stephen F. Roth, © 1988 Addison-Wesley


SIGGRAPH CAREER HANDBOOK2.3 Presentation Graphics

CATEGORIESpage 35

Definition - Simulation 36



Simulation

2.4 Simulation

SIGGRAPH CAREER HANDBOOK2.4 Simulation

SIMULATION

Definition -Simulation

Graphics simulation is different from ordinary computer simulation, although they mayoverlap somewhat. While computer simulation may use computer graphics, graphics isnot the primary tool. For example, a simulation of automobiles on a busy boulevard isa statistical study rather than a visual one, although computer graphics is used to showmodels of cars on the road. Graphics simulation has come to mean the use of computergraphics to represent any form of dynamic physical phenomenon. As an example, asupercomputer may be used to simulate the collision of galaxies and generate a set ofdata.




Computer Science B.S., M.S. or Ph.D.Mathematics B.S., M.S. or Ph.D.Physics B.S., M.S. or Ph.D.


Computer Skills: Programming [81%], C [77%], UNIX [74%], Software Engineer-ing [70%], Data Structures [70%], Structured Software Design [59%], OperatingSystems [59%], Assembly Language [55%], FORTRAN [44%], LISP [22%],Simulation Languages

Non-Computer Skills: Communication [92%], Writing [92%], Personal Manage-ment [92%], Presentation [77%], Public Speaking [74%], Technical Management[55%], Management [51%]

Computer Graphics Skills:Computer Graphics Fundamentals [85%], RasterGraphics Techniques [74%], 3D Computer Graphics [74%], 2D Computer Graphics[66%], Wireframe [66%], Spline Algorithm Techniques [55%], Constructive SolidGeometry Principles [51%]

CATEGORIESpage 37


1989/90 1986

81% 77% like their work;85% 59% think job entry looks good over the next year;66% 35% recommend that others enter this professional area22% n/a have formal Computer Graphics training55% n/a have on the job training in Computer Graphics48% n/a are self taught in Computer Graphics

Selected Readings

• The Beauty of FractalsHeinz-Otto Poetgen, Pieter Richter, © 1986, Springer-Verlag

• Chaos, Fractals and Dynamics - Computer Experiments in MathematicsRobert L. Devaney, ©1990, Addison-Wesley

• Computer Image GenerationBruce J. Schacter, Editor, ©1983, John Wiley & Sons

• Dynamical Systems and FractalsKarl-Heinz Becker, Michael Dorfler, © 1989 Cambridge University Press

• The Fractal Geometry of NatureBenoit B. Mandlebrot, © 1983, W.H. Freeman

• Fractal Programming in CMichael Barnsley, © 1988 Academic Press

• Fractals EverywhereRoger T. Stevens, 1989, M&T Publishing, Inc.

• Fundamentals of Interactive Computer GraphicsJ.D. Foley, Andries Van Dam, © 1982, Addison-Wesley

• The Geometry of Fractal SetsH. Bass, et al, ©1985, Cambridge University Press

• Pattern ModelsNarendra Ahuja, Bruce J. Schacter, © 1983, John Wiley & Sons

• The Science of Fractal ImagesM.F. Barnsley et al., ©1988, Springer-Verlag

2.4 Simulation

SIGGRAPH CAREER HANDBOOK2.4 Simulation

CATEGORIESpage 39

Definition -Image Processing 40



Image Processing

2.5 Image Processing

SIGGRAPH CAREER HANDBOOK2.5 Image Processing

IMAGE PROCESSING

Definition -Image Processing

Image Processing uses a digital image as data to be analyzed instead of as a picture tobe displayed. It is a special subfield of the wider engineering area of signal processing.It is used to extract information from images and to sharpen images for presentation.Image processing techniques in computer graphics include correlations, convolutions,motion blur, and anti-aliasing. A strong background in signal processing, mathematicsthrough calculus, and a strong foundation in physics are recommended.





The skills within each of the following categories are listed in order of importance bythe largest number of respondents:

Computer Skills: Programming [87%], C [78%], UNIX [78%], Data Structures[75%], Software Engineering [69%], Structured Software Design [66%], OperatingSystems [63%], Communications [42%], Assembly Languages [42%], FORTRAN[30%]

Non-Computer Skills: Personal Management [96%], Communications [93%],Writing [90%], Presentation [84%], Public Speaking [63%], Technical Management[57%], Management [51%]

Computer Graphics Skills: Computer Graphics Fundamentals [87%], RasterGraphics Techniques [84%], Image Rendering Techniques [84%], 2D ComputerGraphics [75%], 3D Computer Graphics [75%], Image Shading Techniques [66%],Wireframe [60%], Video Graphics Techniques [60%], Vector Graphics Techniques[54%], 3D Computer Animation [54%]

CATEGORIESpage 41


1989/90 1986

72% 80% like their work;81% 64% think job entry looks good;63% 48% recommend that others enter this professional area33% n/a have formal Computer Graphics training57% n/a have on the job Computer Graphics training48% n/a are self taught in Computer Graphics

Selected Readings

• Algorithms for Graphics and Image ProcessingTheo Pavlidis, © 1982, Computer Science Press

• Computer Image Processing and RecognitionErnest L. Hall, © 1979, Academic Press

• DFT/FFT and Convolution AlgorithmsC.S. Burrus, T.W. Parks, © 1985, John Wiley & Sons

• Digital Image ProcessingRafael C. Gonzalez, Paul Wintz, © 1987, Addison-Wesley

• Digital Image ProcessingKenneth R. Castleman, © 1979, Prentice-Hall

• Digital Image ProcessingWilliam K. Pratt, © 1978, John Wiley & Sons

• Digital Image RestorationH.C. Andrews, B.R. Hunt, © 1977, Prentice-Hall

• The Fast Fourier TransformE. Oran Brigham, © 1974, Prentice-Hall

• An Introduction to Digital Image ProcessingWayne Niblack, © 1986, Prentice-Hall

• Pattern Recognition PrinciplesJ.T. Tou, R.C. Gonzalez, © 1974, Addison-Wesley

2.5 Image Processing

SIGGRAPH CAREER HANDBOOK2.5 Image Processing

CATEGORIESpage 43

Definition - Systems Design, Hardware and Software 44



Systems Design, Systems Hardware andSystems Software

2.6 Systems Design


SYSTEMS DESIGN, SYSTEMS HARDWARE,AND SYSTEMS SOFTWARE

Definition -Systems Design,Software and Hardware

Systems design analyzes problems and recommends how a computer system is to bebuilt to meet the problems’ needs. Since these systems involve both software andhardware, there are specializations in these areas as well. System designers must beaware of all the possibilities in graphics hardware and software, must be able to evaluatethese possibilities for each problem, and must know when custom solutions need to bebuilt.

Careers Questionnaire

StatisticsMost respondents hold one or more of the following degrees:


Computer Science B.S., M.S. or Ph.DMathematics B.S. or M.S.Physics B.S. or M.S.Electrical Engineering B.S. or M.S.


Systems DesignComputer Skills: Programming [88%], C [78%], UNIX [76%], Data Structures[72%], Software Engineering [76%], Structured Software Design [64%], OperatingSystems [60%], FORTRAN [30%], PASCAL [20%]

Non-Computer Skills: Communications [94%], Writing [90%], Personal Manage-ment [84%], Presentation [74%], Public Speaking [66%], Technical Management[58%], Management [56%]

Computer Graphics Skills: Computer Graphics Fundamentals [90%], 3D Com-puter Graphics [84%], Raster Graphics Techniques [78%], 2D Computer Graphics[70%], Image Rendering Techniques [54%], Image Shading Techniques [54%],Vector Graphics Techniques [54%], Wireframe [52%]

2.6 Systems Design, Hardware & Software

CATEGORIESpage 45

State of the Profession - Systems Design

1989/90 1986

74% 80% like their work;80% 57% think job entry looks good;52% 43% recommend that others enter this professional area34% n/a have formal Computer Graphics training60% n/a have on the job training in Computer Graphics50% n/a are self taught in Computer Graphics

Systems SoftwareComputer Skills: Programming [ 90%], C [83%], UNIX [81%], Data Structures[78%], Software Engineering [70%], Structured Software Design [70%], OperatingSystems [74%], Assembly Language [52%], FORTRAN [38%], PASCAL [20%]

Non-Computer Skills: Communications [98%], Writing [94%], Personal Manage-ment [87%], Presentation [81%], Public Speaking [70%], Technical Management[54%]

Computer Graphics Skills: Computer Graphics Fundamentals [92%], 3D Com-puter Graphics [78%], Raster Graphics Techniques [83%], 2D Computer Graphics[85%], Image Rendering Techniques [63%], Image Shading Techniques [54%],Vector Graphics Techniques [65%], Wireframe [54%], Z-Buffering [50%]

State of the Profession - Systems Software

1989/90 1986


Systems HardwareComputer Skills: Programming [86%], C [81%], UNIX [81%], Data Structures[72%], Software Engineering [63%], Structured Software Design [54%], OperatingSystems [60%, 74%, 86%], FORTRAN [40%]

Non-Computer Skills: Communications [100%], Writing [95%], Personal Manage-ment [81%], Presentation [95%], Public Speaking [77%], Technical Management[77%]



Computer Graphics Skills: Computer Graphics Fundamentals [90%], 3D Com-puter Graphics [68%], Raster Graphics Techniques [81%], 2D Computer Graphics[86%], Image Rendering Techniques [63%], Image Shading Techniques [63%],Vector Graphics Techniques [59%], Wireframe [63%], Z-Buffering [59%], SolidModeling [63%], Constructive Solid Geometry [59%], CAD Principles [54%],Spline Algorithm Techniques [54%]

State of the Profession - Systems Hardware

1989/90 1986



CATEGORIESpage 47

Selected Readings

• Computer Graphics, A Programming ApproachSteven Harrington, © 1983, McGraw-Hill

• Computer Graphics A Survey of Current TechniquesJohn Lewell, © 1985, Van Nostrand & Reinhold

• Computer Graphics - Systems and ConceptsRod Salmon, Mel Slater, © 1987, Addison-Wesley

• Computer Graphics TutorialKellogg S. Booth, © 1979, IEEE

• Data Structures for Raster GraphicsL.R.A. Kessener, F.J. Peters et al., © 1986, Springer-Verlag

• Device Independent GraphicsR.F. Sproull, D. Sutherland, M.K. Ullner, © 1985, McGraw-Hill

• Fundamentals of Interactive Computer GraphicsJ.D. Foley, Andries Van Dam, © 1982, 1990, Addison-Wesley

• GKS PrimerL. McKay, © 1984, Nova Graphics International Corp.

• High Performance Graphics Systems ArchitectureIngrid Carlbom, © 1984, UMI Research Press

• Mathematical Elements For Computer Graphics, Second EditionDavid F. Rogers, J. Alan Adams, © 1990, McGraw-Hill

• Principles of Interactive Computer GraphicsWilliam F. Newman, Robert F. Sproull, © 1979, McGraw-Hill

• Procedural Elements for Computer GraphicsDavid F. Rogers, © 1985, McGraw-Hill

• Selected Reprints on VLSI Technology and Computer GraphicsHenry Fuchs, © 1985, Computer Society Press

• Techniques for Computer GraphicsDavid F. Rogers, Rae A. Earnshaw, © 1987, Springer-Verlag

• Understanding PHIGSMaxine D. Brown, © 1985, Megatek Corporation


SIGGRAPH CAREER HANDBOOK2.7 Scientific Visualization

CATEGORIESpage 49

Definition - Scientific Visualization 50




2.7 Scientific Visualization


SCIENTIFIC VISUALIZATION

Definition -Scientific Visualization

Scientific visualization is a multidisciplinary methodology which employs the largelyindependent, but converging fields, of computer graphics, image processing, computervision, computer aided design, signal processing and user interface studies. Its specificgoal is to act as a catalyst between scientific computation and scientific insight.Scientific visualization came into being to meet the ever increasing need to deal withhighly active, very dense data sources, which, for example, include satellite data anddata from supercomputer computations.

For more technical information regarding this new multidisciplinary methodology,please refer to the Selected Readings below.


Most of the respondents hold one or more of the following degrees:




Computer Skills: Programming [91%], C [84%], UNIX [77%], Data Structures[77%], Software Engineering [75%], Structured Software Design [62%], FOR-TRAN [55%]

Non-Computer Skills: Communication [97%], Writing [93%], Personal Manage-ment [86%], Presentation [80%], Public Speaking [75%], Technical Management[55%]

Computer Graphics Skills: 2D Computer Graphics [82%], Raster Graphics Tech-niques [80%], Computer Graphics Fundamentals [80%], 3D Computer Graphics80%], Wireframe [66%], Vector Graphics Techniques [55%], Image Shading Tech-niques [55%], 3D Computer Animation [53%], Image Rendering Techniques [51%],Spline Algorithm Techniques [51%]


CATEGORIESpage 51


1989/90 1986

84% n/a liked their work;86% n/a think entry into the field looks good over the next year;71% n/a recommend that others enter this professional area.28% n/a have formal Computer Graphics training53% n/a have on the job Computer Graphics training48% n/a are self taught in Computer Graphics

Selected Readings

• SIGGRAPH Video Review #28 and #29Published by ACM SIGGRAPH

• Space CareersCharles Sheffield, Carol Rosin, © 1981 Quill

• Visualization in the Eye of the ScientistComputers in PhysicsMay/June 1988

• The Visualization RoundtableComputers in PhysicsMay/June 1988

• Visualization in Scientific ComputingEdited by Bruce H. McCormick, Thomas A. DeFanti, Maxine D. BrownComputer Graphics, Vol. 21 #6, Nov 1987Published by ACM SIGGRAPH

• Visualization Techniques in the Physical SciencesSIGGRAPH ’88 Course Notes #19Chair: Robert Sherman Wolff

PERIODICALS

• Computers In PhysicsAmerican Institute of Physics500 Sunnyside B lvd.Woodbury, NY 11797

• SupercomputingSupercomputing Review8445 Camino Santa FeSan Diego, CA 92121


CAREER PROFILES

CAREER PROFILES

CHRISTINE BARTONComputer Graphics Project Manager 54

KEVIN BJORKETechnical Director for Animation 56

KELLOGG S. BOOTHAcademician 58

JUDITH R. BROWNVisualization Consultant 61

ANNETTE BURR COANEmployer Needs: Computer Graphics in

Advertising and Design 63

STEVE CUNNINGHAMUndergraduate Computer Graphics

Instructor in Computer Science 69

LARRY ELINComputer Graphics Management in Advertising71

GEOFFREY Y. GARDNERComputer Image Generation in Aerospace 73

HANK GREBE"A Bridge Between Two Worlds" 75

SECTION 3

D.E. HEARDTechnical Training Manager 78

HOLLIDAY HORTONAn Artist in a Science Environment 80

STEPHAN R. KEITHScientific Visualization 83

CARL MACHOVERComputer Graphics Consultant 87

AARON MARCUSIndependent Computer Graphics Consultant 89

MIKE MCCULLEYSenior Art Director 92

THERESA-MARIE RHYNEPortrait of a Computer Artist 95

TIMOTHY SKELLYArt Director 97

STEPHEN SPENCERSupercomputer Graphics Research Specialist100

JAMES J. THOMASLead Scientist 102

KATHY WOLFINGERTechnical Writing 105

THOMAS WRIGHTGraphics Systems Software Professional 108

3.0 Christine Bartonpage 54


Christine BartonAssistant Vice PresidentMorgan Guaranty Trust

I have had a varied and colorful career path as a programmer and project manager in numerousareas of computer systems and computer graphics. I have worked in research environments,small companies and large corporations in areas as diverse as real time flight simulators, livenational television broadcasts, and a foreign exchange floor of an international commercialbank, although I consider myself to have come most successfully to rest bringing newtechnical solutions to problems within industry.

A quick history of my career: I graduated with a B.S. in mathematics and computer sciencefrom the University of Illinois, which had quite a good program in mathematics, as well asin computer hardware. While a student there, I began working with the operating systemsgroup of the Illiac IV Project, which was a large parallel processing computer quitesignificant at the time. Work on this project took me to NASA Ames in California, wherethe machine was installed and went into service. Working at NASA Ames was a veryvaluable experience for me, which cemented my formal education with valuable practicalexperience. However, I became restless doing system programming work and began to lookfor a computer application which made all the tedium of programming in assembly language(then the standard for operating systems) worthwhile. At NASA Ames I met John Warnock,who explained some of the basic problems of computer graphics to me, and offered me a jobwriting real time operating systems for visual simulators at Evans and Sutherland.

After very rewarding work on several real time simulators with Evans and Sutherland, whichincluded a ship simulator of New York harbor, a 747 simulator for Lufthansa, and a spaceshuttle simulator for NASA Houston, I took a job at the Computer Graphics Lab at New YorkInstitute of Technology. I had a great opportunity here to explore new topics in computergraphics programming as it could be applied to film and television graphics problems. Ienjoyed meeting and talking to artists here and trying to translate their verbal requests intocomputer tools which they could use. At this time I also enrolled for graduate study at NewYork University, where I had the opportunity to read every computer graphics technical paperI could find in their well stocked library, as well as develop a very rigorous understanding ofcomputer algorithms and topics in mathematics. I regret having never completed a Ph.D.thesis as a student at NYU, although I completed all the coursework required for that degree.

However, I was growing tired of the lack of useable results which can be common in academiaand research labs. At Evans and Sutherland I had worked on concrete projects with definabledeliverables. Taking a job at NBC television in New York working on live television specialprojects again presented me with concrete deliverables. At NBC I wrote computer programsfor special television display processors, as well as computer programs used in the controlrooms to trigger the displays during live broadcasts of national election programs. Icontinued to interact with the users of my equipment, namely artists, program directors and

Computer GraphicsProject Manager

CAREER PROFILES 3.0 Christine Bartonpage 55

program producers. The combination of working with people from a background outsidemine (artists and producers instead of computer scientists), immovable deadlines (I could notget an extension past Election Tuesday) and live broadcasts (I never got to rerecord if thedisplay algorithm had a bug) made the job very exciting.

However, the television business is very fashionable and cyclic; what is in fashion is soon outof fashion, and what has funding may soon be subject to budget cuts. I was cut from mydepartment’s budget and found myself looking for a job three days after a very successfulElection Tuesday. Assessing my professional skills and my job offers, what seemed mostinteresting technically and most interesting as a working environment was a job buildingcomputer workstation networks for foreign exchange traders who sit on a trading floor at aWall Street commercial bank. Time means money to these people, and meaningful graphicswhich quickly describe the totally abstract concepts of the economy are very useful to them.

What has been important to me in my career is having interesting technical problems to solve.The diversity of the problems from each other has never bothered me; for example, I have nottried to stay within the advertising business or the academic community. I think it is importantfor someone who wants to break new ground in technical areas to not think and act inpredictable patterns. It is counter-productive to expect job situations to be consistent or toexpect to find tidy results to a current problem written up in a technical journal or periodical.

However, it is counter-productive to reinvent previous results; having a proper understandingof basics, that is, a good technical foundation with a discipline of procedures in problemsolving, is very important, too. I think that it has been very useful to me to have solid technicalfoundations. Whenever I have felt lost with a problem, what has helped was to get moretechnical information about possible approaches to solving it.

I think these methods of innovative discipline have allowed me to move on to new problems,instead of reapplying old solutions to old problems for a new audience. I consider myself tobe a creative person, a trail-blazer, a pioneer, with the arrows in my back to prove it. But Ihave found no real short cuts during my career. It has turned out to be basicly routine hardwork with an occasional innovative result or new application to make it all worthwhile. Inthe end, having work you feel like doing is the real reward.

3.1 Kevin Bjorkepage 56


Kevin BjorkeR/Greenberg AssociatesTechnical Director for Animation

Why I Spend My SummerVacation at SIGGRAPH

I am currently a Technical Director at R/Greenberg Associates in New York City. Greenbergis a film/tape production company, and so my work centers around using computers in thecontext of commercials and feature-movie special effects.

R/Greenberg is a broadly integrated effects company, so the computer animation we do isoften composited with optical effects, traditional animation, or live-action footage made byother departments in the company. The job title “Technical Director” is one of the most vagueand thus mis-used in the animation industry. I have seen Technical Directors (TDs) whocannot program, and others who do virtually nothing BUT program, sometimes working sideby side under the same roof (and the International Alliance of Theatrical and Stage Managerssays “Technical Director” is another thing entirely). I have pretty strong programming skillsmyself, and write a lot of software; not only renderers and animation programs, but higher-level utilities on a per-job basis. I also produce animation for clients, like most TDs, usuallyin collaboration with others. Thus I am a User, Designer, and sometimes Manager ofcomputer graphics.

The skills I’ve needed for my work have included fluency in a number of programminglanguages (C, FORTRAN, Forth, Lisp, BASIC, Smalltalk, and variants of all of these), a goodunderstanding of rendering, animation, and internal computer representations; a certainamount of physics and mechanics; mathematics for animation, which (with a few exceptions)doesn’t range much beyond differential calculus; traditional art skills; and a strong back-ground in live-action filmmaking and “regular” animation. I also need to be able to deal withthe people you usually find in most filmmaking environments. I don’t believe filmmakingis a good business to build stable personalities in, and you work with a spectrum of peopleranging from brilliant and balanced to crazy and dangerous. Working on advertising projectsusually means dealing with external clients as well as your usual colleagues.

Unlike many people with similar jobs in computer graphics, I’ve had no formal high-leveleducation in computer science. I was exposed to computers early (fourth grade, 1969), as partof an educational project supported by the University of Minnesota and Control Data Corp.In those days, all our storage was on paper tape, and the terminals (both of them, for 30students) were teletypes. Graphics was something that I never really understood and had noway to deal with. I almost didn’t believe that it could really work, despite my fondness forthe coin-operated SPACE WARS.

After the eighth or ninth grade, I didn’t see another computer for several years, concentratingat that time on writing fiction and working in film and television. I had some success withboth, and I went to several film schools in Minneapolis/St. Paul and Los Angeles. While atthe California Institue of the Arts, I discovered an Apple II in one of the production areas andwas curious because I had heard you could make pictures on it. Ed Emshwiller, who had made

CAREER PROFILES 3.1 Kevin Bjorkepage 57

the film “Sunstone” at New York Institute of Technology, was the Dean of the CalArts filmschool, and he encouraged me to fiddle with the Apple. I taught myself perspective math andstarted doing effects sequences for my own films. I had thought at the time that almost noone was doing this sort of thing outside of flight simulation. When I first saw Foley & vanDam’s Fundamentals of Interactive Computer Graphics many months later, I was agog.Wow! They had it all figured out!

CalArts has produced a number of people in the entertainment Computer Graphics business.One of them, Dale Herigstad, was teaching at CalArts. He introduced me to people whosubsequently got me in contact with Digital Productions, where they were making effects forthe movie The Last Starfighter. I sent them my resume and a tape of some of my animation.I sent another resume later, and someone at Digital Productions remembered that they stillhad my tape. I started working there as a TD almost a year after my first resume and interview.I worked at Digital Productions for two and a half years, until its sorry demise in March, 1987.

After that, I took a different approach to computer graphics, writing game and utility softwarefor the Amiga personal computer. I then went on to work with Bill Kroyer at Kroyer Filmsand developed software for the animated TV show Ultracross. In December of 1987, I movedto New York to begin with R/Greenberg.

I enjoy my work because it keeps me constantly thinking in terms of “higher, farther.” I havea great fascination with pictures, both still and moving. When I shifted focus from live-actionto computer animation, I was thrilled by the ethereal, otherworldly images, the precise degreeof control that was (theoretically, intuitively) possible, and the intellectual rigor that wasdemanded to make it happen. I’m constantly learning new things and dreaming up new waysto do them, then making those dreams real (sort of). Making fantastic pictures is verysatisfying in itself. In a way, I can do anything, or at least seem to: build and destroy planets,grow forests, turn the laws of physics upside down and then put them back.

There is a downside, of course. Like most jobs in the film/video business, mine keeps me atthe office for a long time every day, both at the console and in meetings. This can strain lifeat home, but a natural proclivity towards workaholism has helped me survive. You can get“spaced out” by the intensity of the work and seem dazed to other people. I tend to take anhour or two at home to come “down” after an intense workday. The relentless pace oftechnology IS relentless. Sometimes you find that your equipment and software is considered“obsolete” just as you’re starting to get good at using it. This is frustrating. And there arethe usual antagonistic elements of any film job: the deadlines, the uncertainty of the business,the feuding over creative control (probably the most comical hassle), and the anxiety overhow your work will go over at SIGGRAPH, on the air, and with your clients.

My advice for people who want to work in computer graphics, and whose interest is to makegreat films, is to focus their study not on algorithms, but on their own creativity. As the fieldadvances, people will be needed at all levels, from the simple flying-logo joystick jockey topeople who have a fine touch and can imbue their work with emotion and character (sorelylacking in the bulk of today’s computer graphics) while at the same time making sure that thesurfaces are correctly lit and the rolloff exponents are reasonable. Computer graphics isquickly blending into the mainstream of film/video-making, and thus it’s better to understandediting than enumeration, and probably better to read Moby Dick or Cicero than A Survey ofMultidimensional Data Projection Methods. Technology changes rapidly; people andmeaning do not.

SIGGRAPH CAREER HANDBOOK3.2 Kellogg S. Boothpage 58

Kellogg S. BoothProfessor of Computer ScienceUniversity of Waterloo

Academic

I am a professor of computer science at the University of Waterloo. I teach undergraduateand graduate courses in computer science and I conduct my own research and supervisemaster’s and doctoral students in the field of computer graphics. I’ve been doing this for thelast twelve years. I am also the director of the Computer Graphics Laboratory, where fivefaculty members, four technical and support staff members, about twenty full-time graduatestudents, and a few other people do research in various aspects of computer graphics.

I learned to program assembly language in a high school science club and taught myselfFORTRAN from an IBM manual. As a mathematics undergraduate at Caltech I worked fortwo summers programming (and other odd jobs) in high energy physics and spent thesummer after my junior year working as a systems programmer in the computing center. Itook a one year undergraduate course in systems programming, a one year graduate coursein theory of computational linguistics, and one quarter courses in each of analysis ofalgorithms and formal language theory. During my senior year I worked part-time on anatural language project.

That was my introduction to computer science. There was no undergraduate major incomputer science at Caltech then (1964-68). I consider this fortunate because it forced meto learn things other than programming and may have saved me from becoming a hacker.Caltech requires more humanities courses than most math or science majors take at otherschools. I took a year of history and philosophy of science as electives and some extraAmerican history. These courses kept my writing skills active.

After my bachelor’s degree I worked full-time as a programmer at the Lawrence LivermoreNational Laboratory for eight years (1968-76). During most of that time I was a graduatestudent at UC Berkeley, where I earned a master’s and a doctorate in computer science. Myacademic work was mostly in theoretical aspects of computer science, and my thesis involvedalgorithms and data structures for solving combinatorial problems of interest in graph theory.However, my work at Livermore involved computer graphics. I had originally taken a jobthere as a summer student to learn about man-machine interaction. Because of the draft (thiswas the Vietnam era), I stayed on, first working on a time-sharing system to supportinteractive computer graphics and then working in the newly-formed computer graphicsgroup.

I learned a lot of what I know about computer graphics from watching others at Livermore,especially George Michael, who was a mentor to me. I attended the first SIGGRAPHconference in 1974 while on a tour of computer graphics installations with George and I gavea few lectures in a course he taught on computer graphics, which prompted me to read the firstedition of Newman and Sproull’s graphics book. The graphics group at Livermore wasmanaged by Bob Lee, who hired a number of good people from outside the lab, to add to thehome-grown expertise already there. It was exciting being a member of the team, I look backon my time at Livermore as one of the best learning experiences of my life.

CAREER PROFILES 3.2 Kellogg S. Boothpage 59

A year after I finished my Ph.D., I took a job as an assistant professor at the University ofWaterloo. Although there was interest in my work in graphics, I was hired mostly on thestrength of my theoretical work. A year later I was joined by another UC Berkeley Ph.D.,John Beatty, with whom I had worked at Livermore. Within a year we had acquired somegraphics equipment and started teaching a course in computer graphics. In 1980, we wereawarded an equipment grant, with which we purchased an Ikonas frame buffer. This gaveus a state-of-the-art raster display system on which much of our research over the next fouryears was performed.

The Computer Graphics Laboratory was formally started in 1981, and has grown a lot sincethen. We now have a well-equipped laboratory with a large mainframe computer, specializedgraphics processors, and a distributed network of workstations that continues to evolve. Eachof the faculty members has a different background. None of us did graduate work in computergraphics. Three have doctorates in computer science, one in mathematics and one in physics.Some of our research projects are hard-core computer graphics, but many aremultidisciplinary. We work with faculty members in dance, chemistry, engineering, finearts, and psychology. A mix of theory and practice exists in all of our work. Both areimportant.

Being actively involved in SIGGRAPH has helped me learn managerial skills. I began givingcourses at SIGGRAPH conferences in 1977 and served on program committees from 1979-1982. With John Beatty, I served as co-chair for the SIGGRAPH ’83 conference. This wasa two-year job. My four years as chair of SIGGRAPH end next year. Like most people I didnot plan to become a manager. But as the years go by, I spend more and more of my timemanaging. As a teacher I manage people (undergraduate tutors, graduate teaching assistants,and regular support staff). As a researcher I manage people (graduate students, researchassistants, and sometimes other faculty members). As a member of an academic departmentI manage people (chairing committees, participating in promotion and tenure decisions, andrecruiting new faculty members). Most of what I know about management I learned fromco-chairing the SIGGRAPH ’83 conference or from watching Bob Lee run the graphics groupat Livermore. It would have been helpful to have had some formal training for this.

Today, I divide my time about equally between teaching, research, and “administrivia”,though it is often hard to separate the three because each involves aspects of the others. I dosome consulting, but usually it is related to my research interests. Most of my teaching is toundergraduates and is not in computer graphics. I know that many faculty members wouldlike to concentrate on their research specialties and leave the general courses to non-researchers, but I like teaching first and second year courses. I particularly enjoy teachinga broad range of topics in computer science. I don’t see computer graphics as having verymany deep principles because most of the principles come from fields outside of computerscience, such as mathematics, physics, psychology, art, and philosophy. The vast majorityof people who actually do computer graphics for a living use it as a tool to solve problemsin some domain other than computer science. Knowledge of the problem domain is at leastas important as knowledge of the tool.

I have this same view of computer science. It is primarily a tool for solving problems in otherdomains. I am not a strong believer in undergraduate computer science because manycomputer science majors don’t learn anything but programming with a smattering of theorythrown in. I do not encourage my graduate students to take only courses in computer graphics.At Waterloo we teach three basic courses in graphics: one on general computer graphics, one

SIGGRAPH CAREER HANDBOOK3.2 Kellogg S. Boothpage 60

on interaction, and one on spline theory. There are advanced graduate courses that coverspecialized topics, but I expect graduate students to gain a broad knowledge of computerscience by taking courses in a variety of areas within the department.

Research in computer graphics usually requires equipment. Equipment costs money andmoney has to come from somewhere. As a faculty member I expend a significant amount ofenergy looking for funding. Most of it comes from the government. (I am in Canada, wherethe rules are a little different than they are in the US, but I doubt this changes things verymuch). Some of it comes from industry, either through contracts or through donations ofequipment. All of this requires writing grant applications, contracts, or requests fordonations. I do a lot of writing.

I also spend a lot of time reading, correcting, and reviewing other people’s writing. I wishthat students had more training in basic writing skills. When I referee technical papers forconferences or journals and when I review applications for granting agencies, I wish thatfaculty members had more of this training too.

Not all academics do research. But faculty members at major universities usually areexpected to do research. This means that you have to keep up with the literature in your field.And you have to contribute to that literature by publishing papers in journals and presentingpapers at conferences. To be promoted and to get tenure, your papers have to be accepted asadvancing the state of knowledge. This sometimes makes it difficult to work in more appliedareas. Papers that simply describe the implementation of a new system are often notacknowledged as making a significant contribution. My own work in computer graphics hasbeen a combination of applied and basic research. I enjoy both aspects. It is fun to buildsystems that work and it is satisfying to discover something new about the world. I’m anacademic because I like teaching. If I only wanted to do research, I would be in industry whereI could devote more of my time to research projects.

What advice would I give to a would-be academic? You need to have a Ph.D. (not always,but almost always). After that, three things: (1) Acquire as broad a background as youpossibly can. Research topics change all the time. A fundamental understanding ofmathematics, the physical and social sciences, and (above all) the ability to communicate wellverbally and in writing is the best preparation. (2) Don’t expect that academics are a differentbreed. In many respects universities are just like companies. The best faculty memberswould be equally successful in industry. (3) Choose a school and a department where youwill have good colleagues. It is difficult to work alone. In computer graphics it is verydifficult to work alone.

CAREER PROFILES 3.3 Judith R. Brownpage 61

Judith R. BrownAdvanced Research Computing ServicesThe University of Iowa

VisualizationConsultant

Scientific visualization is a rapidly growing field which combines several disciplines -computational science, computer science, cognitive science, computer graphics systems, andthe visual arts - in a common search for new scientific insight. This goal is achieved by usingcomputer graphics tools and techniques to examine the enormous amount of data producedby modern scientific simulations or experiments. “Visualization” has become a buzzword,frequently misused. The important concept is that the information and insight gained fromthe use of computer graphics are important, not the graphics themselves.

EarlY successes in this field were achieved by visualization teams composed of specialists ineach of the above disciplines. Such teams continue to be successful, and their work createsexcellent employment opportunities for persons with specialties in these areas. As awarenessof visualization has grown, it has become apparent that the artists in such teams need to obtainmore technical skills and the scientists need to obtain more artistic and visual skills. At thevery least, this enables them to communicate more effectively. Communication skills — oral,written and visual — are extremely important in this field.

Visualization centers were first created at the major national supercomputer centers and otherlarge governmental research sites. As the value of the centers was demonstrated, the demandfor use of the facilities has increased so that it has become very difficult for scientists aroundthe country to benefit from the facilities. Consequently, many smaller satellite centers areemerging at companies and universities.

At The University of Iowa, we recently established an Advanced Research ComputingServices unit at the academic computing center. This unit supports the high speed computingneeds of research through parallel processing on our own campus, access to nationalsupercomputing centers, and some visualization resources on campus . Since the visualiza-tion resources are absolutely essential to advanced research computing, we have provided amodest Visualization Laboratory with some Macintosh II computers equipped with visual-ization software from National Center for Supercomputing Applications, and plan to obtainmore advanced graphics workstations as well as hard copy and video output devices.

My job is to consult with researchers to determine how their data might be visualized and tohelp bring their data into the available visualization software. At the same time, I continueto write specifications for higher level equipment and to advocate the need for suchequipment. I also need to evangelize to convince some scientists that our visualizationfacilities can be beneficial to their scientific discoveries, although I expect the need toevangelize to diminish and to use that time in the future to present the results of our endeavors.However, the need to write grant proposals or university equipment requests will continuebecause high-end visualization equipment must continually be upgraded.

SIGGRAPH CAREER HANDBOOK3.3 Judith R. Brownpage 62

What do I like about my job? My job is so exciting to me that I can hardly wait to get to workin the morning. Each project is a different challenge, and although our equipment is still low-level, we can do some very good work and have prospects of acquiring more advancedworkstations. Working in a university environment offers both drawbacks and advantages.The drawbacks are in the areas of equipment acquisition and salary. Universities have lessmoney than major industries, which means that major equipment acquisitions are moredifficult to obtain and take longer, and university salaries are traditionally 10% to 50% lowerthan those in industry. On the other hand, flexible working hours, more vacation, and creativefreedom in your job are common in the university environment.

My background is a mix of formal and informal training. My formal education includes aB.A. in mathematics and education, with a curriculum heavy in the sciences, and an M.S. intheoretical mathematics. The first company I worked for, Collins Radio Company, trainedme to program computers because this was 1964 and there was not yet a computer scienceprogram in my university. I have also worked as a consultant on computer graphics hardwareand software, across disciplines, for ten years. My arts background is informal. I have takenpottery classes, have been an art museum docent, and have been active in several artsorganizations on campus.

Today, however, there are formal computer graphics courses one can and should take in mostcolleges and universities, although there is not yet a major in scientific visualization. If youwant to work as a visualization specialist, you should have a computer science backgroundwhich includes computer graphics and user interface training. You need strong mathematicalskills, especially in linear algebra. You also need visual training from the arts, especially incolor theory and drawing. A background with a variety of sciences is also important sincethe projects range across many scientific and non-scientific disciplines. This differssomewhat from the careers in visualization as a scientific or artistic specialist mentionedabove; these require specialization in the sciences or arts, with studies in computer graphicsand the other areas.

Computer graphics professions tend to be multidisciplinary, and scientific visualization is noexception. This is an area where mathematics,science and art coalesce. It is also an areawhere communications skills—visual, oral and written—are extremely important.

CAREER PROFILES 3.4 Annette Burr Coanpage 63

Annette Burr CoanDirector of TrainingPublishing Technology, Inc.

Employer Needs:Computer Graphics inAdvertising and Design

Educators, employers, and potential employees are looking for guidelines as to what qualifiespeople for the rapidly growing field of computer graphics. Advertising and designprofessions are expected to employ uniquely talented people in jobs that will be created inthe next two to five years. This article is intended to provide direction for people who linka field which is beginning to benefit from computer technology with people who areconsidering a career in computer graphics. The term “design” is used to mean graphic design,the highly specialized adjunct to the advertising industry.

Case #1: A nine-member advertising firm in a major north eastern city uses a Macintosh withPageMaker software to write ad copy for its corporate clients. The design department pastesup true text produced on a laser printer. This system was developed in the past year by arecently graduated English major who has grown from administrative duties to copy writingon the personal computer.

Case #2: Two veterans of the publishing and computer industries saw the need for thepreparation of text and full-color pictures for commercial printing to be done on inexpensiveworkstations. Their first employee was an art teacher with graphic design and computerexperience. She creates visual and spoken presentations, demonstrates the system, and trainsnew users.

The infancy of the job market in computer graphics for advertising and design makes itimpossible to describe concrete employer requirements in these fields. Instead it seems morereasonable and useful to derive requirements in these fields from employers in a variety ofspecific applications. For example, the human requirements of a company producingtelevision commercials are quite different from those of a large volume printer of glossymagazines. Interview results will follow, culminating in a “computer artist profile” and ananalysis of the future needs of the job market.

Current uses of computers in advertising, design and commercial publishing go beyond theadministrative use of personal computers and small multiuser systems. Even the generationsof large, stand-alone, single task computers that set type, make up pages, retouch images, andedit film are beginning to look like dinosaurs. Now dedicated workstations and integratedsystems built around minicomputers with graphics capabilities and expanded memory areused to aid design and production and to educate and sell through business presentations.

3.4 Annette Burr Coanpage 64


RequirementsRequirements are the true center of this article. What kinds of employers are therein computergraphics for advertising and design? What are the expectations vs. the real benefits ofcomputer graphics as a design tool? And finally, what are employers looking for?

Kinds of Employers

The key to the advertising and design business is communicating aesthetically. Computergraphics in these fields is a tool to accomplish that end. The application determines the needfor image quality and sophistication and for corresponding taste, skill and knowledge by thecomputer artist.

AdvertisingIn advertising, the need is to represent full-color images and high quality text for clientapproval. Resizing images, rewording, and rearranging text and pictures are all commonoperations. Currently, workstations whose strengths lie in electronic painting and shape-oriented image creation are in use for illustration and page design. As in the followingapplications, the technology for output onto paper in full color lags behind the imaging andtext. Some enterprising ad agencies provide the capability for information to be sent overphone lines so that clients can approve the ad on their own computers instead of looking ata proof that is lower quality than they are used to seeing. As in the above example of the smalladvertising firm, printing out the ad copy on a laser printer and pasting it manually onto thecomp is an intermediate step to full page design on screen. Systems such as TimeArts’ EVAare strong on color illustration; the Apple with various software does text and some black andwhite illustration. A design artist starting a job today would be asked to do one or the other,depending on computer experience, but probably not both at first.

According to Peggy Stutts, copy writer at Calderhead and Phin, New York City, the large adagencies are not even using word processing much yet for copy writing. Similarly, inpublishing, writers have been slow to take advantage of the ability to edit more quickly.However, the thinking process can be improved by a computer, because the writer can usethe time previously spent manually cutting and pasting to think instead. Agencies whosesmall size requires employees to “wear more than one hat” create an innovative atmospherethat invites the application of computers to old tasks.

In fields where the job market for computer artists is more developed, more highly specializedskills are needed. In all areas, the artistic taste that comes from working with people with highstandards and the knowledge that comes from thorough training are essential.

Graphic DesignGraphic design has benefitted from the interest and advances in desktop publishing over thelast two years. More of the design process, at least in black and white, is possible oncomputers. Graphic designers are devoted mainly to arranging information on a page to geta desired response. The information consists of text, graphic elements of various kinds, andimages. Graphic designers are typically more concerned with the aesthetic qualities of typethan ad agency staff, and incidentally, are more entrepreneurial. The low cost of producingtype for design in black and white on personal computers, combined with the ease of use,makes the text orientation a good place for potential employees to get some experience.


Dedicated workstations, such as those made by Lightspeed, allow full-color image manipu-lation with greeking and complex layout changes. Training time may be one day or more andis usually provided to proven employees rather than newly hired ones.

Wendy Richmond, computer graphic design consultant and columnist for CommunicationArts magazine, emphasizes the graphic design training and experience required to bridge thegap between manual and computerized work. Her background includes design research anddevelopment for Camex, a manufacturer of computer systems for newspaper publishing, forBitstream, a company recognized as a leader in digital type, and for Lightspeed, manufacturerof graphic design workstations.

Computer graphics in graphic design is currently a very limited market for computer artists.Very few systems provide services graphic designers can justify in cost, and many graphicdesign jobs require intricate manual skills and complex thought processes that are learned onthe job. Graphic design firms now interested in computer graphics tend to be innovators, soa demonstrated taste for trying new things puts prospective employees in an appealing light.

AnimationAnimated computer graphics have been used in television commercials and music videos forseveral years. They are produced on very expensive systems such as the Quantel Paintbox.Skilled retouching of colors and shapes are required, because these systems allow the artistto collage parts of various images, as illustrated in the Cars’ award-winning video by Charlex.Computer artists with 3 or more years experience are considered for the openings in thisglamorous, limited field.

Judson Rosebush, author and creator of The Optical House, New York, describes in furtherdetail the kinds of opportunities he provides as an employer in computer graphics animationfor advertising. He tends toward “first hires” in the industry. That is, he finds people in otherfields and trains them according to how their temperaments, talent in various areas, and theirstrengths fit his needs. Graphic artists begin as animators, then depending on interest andbackground, go on to programming and operation in graphics and text. The creativity factoris central to this particular company, as its head sees creativity throughout the organizationin simple alertness and problem solving.

Business Presentations

Computer graphics in business presentations is becoming established as dedicated worksta-tions of Genigraphics, Artronics and others are added to and sometimes replaced by newsoftware for minicomputers. Skill is needed at producing slides that call the viewer to actionwith simple illustrations and a few lines of text (a more difficult assignment than is commonlyappreciated). This skill can be honed with practice on readily available Apple and Amigapersonal computers.

Dianne Kadah is an artist who established a computer graphics production department atPhilip Morris, where she was able to differentiate between the characteristics of fine artistsand graphic artists. The creative style of the artist has to be suited to the commercialenvironment: the ability to assimilate information and to decide on the best way to get acertain result among various possibilities, always keeping the clients’ expectations in mind.Compare the rational style of Escher to the emotional style of Van Gogh to uncover some of



the difference. In a small, highly specialized corporate department such as hers, newly hiredemployees need an undergraduate degree in commercial arts and 3 to 5 years experience withthe company product line or in the installed computer equipment itself.

The portfolio for business presentations, as for the other categories, should show “designsense.” Design sense for the business slide creator’s job means, for instance, a limitation onthe number of typefaces used— rarely more than two in a series of slides. Actual slides shouldcomprise the portfolio whenever possible. Neatness, clarity, and conciseness make theportfolio look professional.

Some new jobs in computer graphics may not require a portfolio because enthusiasticentrepreneurs who are drawn to an exciting, rapidly developing field may not know what theyare looking for. In that case, the prospective employee is more likely to have an opportunityto create a job according to individual tastes and drive.

Expectations vs.Real Benefits

Employers considering the operation of computer graphics equipment have various expec-tations of what the new technology can do.

(1) Creativity

Do advertising and design fields really have a greater need for freshness and originality thanmanufacturing, government or education? If so, is the potential for computer graphics greaterin these “creative” fields? Novelty and surface appearances, at least, are valued more highly.Televison commercials will exploit the novelty of the latest advances in computer animationuntil the next fad appears. Meanwhile, the development of computer graphics as a two- andthree-dimensional design tool and for manipulation of images during the production stagesof commercials and printed matter will continue. Computer graphics become deeplyestablished in processes where they save time in extremely deadline-dependent businesses,such as magazine production, where last minute changes are the rule.

The Director of the Pratt Center for Computer Graphics in Design in Hawthorne, New York,Perry Jeffe, administers a program which provides designers with information on choosingequipment. He advises that computer graphics enhances mental flexibility, a key character-istic of creative processes. It allows the designer to get to more information more easily,which is of profound benefit to the research phase of design.

The uninitiated fear computer graphics systems will decrease creativity, but this fear is partlybased on the relative clumsiness of the early technology. Rapid changes in the technologyand configurations of computer graphics systems are all in the direction of ease of use andincreased capability—these factors enhance creativity. If a fearful person can be coaxed totry creating on a computer graphics system, that one try is sometimes all that is needed todispel the fears. A knowledgeable, patient teacher is of course a boon.

(2) Production Speed

Computer graphics are well established in business presentation graphics partly because thetechnology closely matches the needs of this market for simple images with some text,produced in great quantities on tight deadlines. Many a corporate art department is called onat 4:00 p.m. to produce 100 slides for a board meeting at 10:00 a.m. the next day.


In contrast, the increased needs of advertising and design fields for intricate manual skills arejust beginning to be addressed by computer developers. The pressure to producemechanicals on a tight deadline for client approval and then for printing is matched by thepressure for quality. The quality norms in these fields are the highest possible, specifically,the sharpness and selection of type, the matching, richness and variety of color, and simplystated, the accuracy of getting what the designer intends out of the computer system.

(3) Cost Efficiency

Employers expect the financial benefits to weigh effectively against the cost of operating thecomputer graphics system. Of course, the creative advantage may outweigh the initialinvestment, but no one stays in business for long if the profits do not materialize. Thedecision makers are looking at not only the cost of equipment, but also training time andsupport contract costs, as well as cost of the computer artists’ salaries and benefits.

Computer artists joke that they are no different from other artists, only hungrier. Many fineartists reach a decision to make a living using some of their skills, and turn to computergraphics as one alternative to starvation. Computer graphics salaries range from $15,000 to$40,000, depending on experience and geographical location. Artists who succeed incomputer graphics are committed to the hunger for new experience, the need to be at thefrontier where unique qualities and initiative are highly valued. Such romanticism will likelyprevail until computer graphics technology and markets mature and become truly part of themainstream.

SummaryThe following is a profile of a computer artist. It was derived from the combined experienceof employers and consultants in computer graphics, especially Wendy Richmond and MillsDavis.

The computer artist has a liberal arts background with design education, has an intuitive senseof color, and is experienced in the choice and arrangement of type. He or she has proveninterest in computers by gaining experience where possible on personal computers. Mostimportant of all, the artist has an open, even enthusiastic, attitude towards learning computergraphics. Talent, while subjectively evaluated, is more important in a creative process thana production environment.The personality traits that lead to commitment to the liberal arts fit the mental flexibilityrequired to learn a new system. Interestingly, familiarity with specific equipment is not ahigh priority with employers. Many are buying newly developed systems anyway, and theopen attitude and experience with color and type are far more predictive of success.

Future Needs ofthe Job Market

Technological advances affecting the small computer, combined with its increased accep-tance in the home and school, mean its impact on the job market will likely increase. Personalcomputer-based systems for the kinds of businesses described above will lower costs andexpand capabilities. The result will be a wider range of benefits to employers, andconsequently a wider range of jobs available.

Visual communications skills will be in even greater demand, although less technicalknowledge will be needed to master these systems as they become easier to use. As we seein the current wave of unskilled graphic design produced by desktop publishers, many peopledriven to use computers to communicate simply don’t know what they don’t know. A



computer is a tool for enhancing visual and verbal communication: a more complex tool thana brush or pen, to be sure, but no more than a tool. A computer can enhance the taste andknowledge of the person using it; it cannot replace these essential qualities.

Annette Burr Coan is director of training at Publishing Technology, Inc. She was educatedat Vassar College and the University of Maine and trained in graphic design and computergraphics at Parsons School of Design. She is the art teacher described in Case #2 at thebeginning of the article.

WOULD YOU BE HAPPY IN A CAREER INCOMPUTER GRAPHICS IN THE ARTS?

Questions for computer graphics students:

1. Do I have formal training in graphic design, paintingor illustration?

2. Do I like working on computers?

3. Do I enjoy finding new solutions to familiarproblems?

4. Can I criticize my work and learn from my mistakes?

5. Do I enjoy working with color and with text?Which do I prefer?

6. Do I have trouble following directions?

7. Do I enjoy giving people a message, though I maynever see their reaction?

CAREER PROFILES 3.5 Dr. Steve Cunninghampage 69

Dr. Steve CunninghamProfessor of Computer ScienceCalifornia State University, Stanislaus

Undergraduate Computer GraphicsInstructor in Computer Science

Teaching computer graphics in an undergraduate computer science program is an interestingand stimulating career. You must keep up with developments in this rapidly-evolving field,write examples of graphics algorithms, systems, and applications, and help bright youngstudents develop their skills and knowledge. Watching your students go out after graduationand do interesting things is a unique reward to all of teaching; the excitement of computergraphics makes this especially fulfilling. Teaching computer graphics in computer scienceis much like teaching in any undergraduate program, but the discussions below are specificto computer science.

Undergraduate instructors do not get to devote all their time to a specialized subject likecomputer graphics. We must cover many subjects in our discipline. Besides ComputerGraphics, I teach a range of beginning and advanced computer science topics includingComputer Programming I and II, Data Structures, Computer Organization, ProgrammingLanguages, Theory of Algorithms, and others. I work on several kinds of computers andworkstations with different operating systems, although UNIX™ is the most common onewe use. I use Pascal in my beginning classes and C in most others (including computergraphics). I must be familiar with several more languages, and I am currently learning object-oriented languages. My teaching requires preparations for lectures, laboratories, grading,and various consultation and committee work on campus, as well as participation indeveloping and maintaining our computing laboratories. I also write about issues incomputer science, particularly computer graphics education, and find it a challenge to keepup with such a rapidly changing field.

I did not follow a simple path to my current position. I had no courses in computer sciencein my original undergraduate and graduate studies. My Ph.D. is in pure mathematics, and Ispent almost ten years in mathematics teaching and research before I began teachingcomputer science. I used computer graphics in my mathematics teaching before I beganteaching computer science and had two National Science Foundation grants to develop acomputing laboratory for mathematics and to develop computer-graphics based software forteaching general statistics. My early programming experience also included systemsprogramming for graphics, such as helping install Tektronix PLOT-10 TCS on an IBM 1130and porting Tektronix PLOT-10 IGL to an early Hewlett-Packard 3000. I became so fondof computing that I accepted the challenge to begin the Computer Science program atBirmingham-Southern College. Two years later, I received another National ScienceFoundation grant and a sabbatical year to do my first formal study in computer science andto earn an M.S. in the field. However, I retain my interest in computer graphics formathematics and am actively working on issues in visualization for mathematics.

SIGGRAPH CAREER HANDBOOK3.5 Dr. Steve Cunninghampage 70

If you are considering a career as undergraduate computer graphics instructor in computerscience, you would probably take a different path from mine. Undergraduate instructors musthave a good general background in computer science and must have a Ph.D., probably inComputer Science. Your undergraduate studies should be in a technical area; this might becomputer science, but mathematics is a good choice and studies in the physical sciences arereasonable. Certainly you must have a strong mathematics background and a goodknowledge of the sciences. Your graduate work, especially for the Ph.D., needs to be incomputer science or strongly related to computer science in order to get your first facultyemployment in a computer science program. After that, you face the usual new-facultyproblems of tenure and promotion. These vary, of course. In larger universities, this meansserious research and grant programs, while in smaller colleges, it means scholarship andteaching. In either case, it means long days of hard work, made bearable (and fun!) by brightstudents, stimulating colleagues, and exciting developments. Your rewards are both personalgrowth and accomplishment and the knowledge that you are contributing to the future ofcomputer graphics. In spite of administrators, budgets, and campus politics, undergraduatecomputer graphics instruction is a rewarding career. I highly recommend it.

CAREER PROFILES 3.6 Larry Elinpage 71

Computer GraphicsManagement in Advertising

Currently, I am the Director of Special Projects at MetroLight Studios in Los Angeles.MetroLight is a computer animation company specializing in broadcast graphics andcommercials. Realizing that the market for these applications is not growing at the same rateas the number of companies providing the same services, MetroLight has initiated a projectto develop new markets and applications for the production services we provide.

As Director of Special Projects, it is my responsibility to identify and pursue opportunitiesthat are outside our current activities, and to develop the means to service these new markets.An example would be half-hour format children’s programming, feature films, or programcontent for compact disks. I’m engaged in research, development, marketing, andproduction of computer animation for a number of various projects. It is very challenging,and draws on my years of experience as an eclectic in the field of computer animation.

The most positive aspect of my work is the excitement of putting together the team of peopleand the battery of equipment for each project. The combination is different for each project,and requires creativity, technical know-how, business acumen and inter-personal skills, aswell as a great deal of general knowledge about film making, computer graphics technology,art and animation.

The only negative aspect of my job has to do with the nature of the film business itself. Thereare ups and downs, feast or famine situations constantly, and the stress, because of this, cantake a toll. In my line of work, it is critical to be very easy going and to roll with the punches.I learned this lesson the hard way.

For 12 years, beginning in 1973, I was a producer, designer, director and and animator atMAGI SynthaVision, in Elmsford, NY. When I left in 1985 I was the vice-president incharge of production. I graduated from Syracuse University with a degree in TV/Radio andFilm and in Advertising in 1973. MAGI had just finished developing SynthaVision, which,at the time, was the only computer-generated raster graphics system available forcommercial film production. My wife (then fiance) introduced me to her father, Dr. PhillipMittelman, who was president of MAGI, and he hired me. I think both of us thought of itas a temporary arrangement, until I could catch on with a TV station or Advertising agency.But I fell in love with CGI and made it my obsession to see MAGI succeed in the business.

Because we started from scratch, with our own software, home-made film recorder, verylittle knowledge of the film business, and in an industry with no history whatsoever, theramp-up to respectability was very hard. We were learning every aspect of the productionbusiness, computer animation and advertising as we went along. Making mistakes. Wedidn’t realize we were literally clearing the way, in many respects, for the computeranimation world you see today.

Larry ElinDirector of Special ProjectsMetroLight Studios

3.6 Larry Elinpage 72


At MAGI, I was involved in the production, design and animation of hundreds of industrialfilms, commercials, TV IDs, four features (including 14 minutes of TRON). I had my shareof victories and debacles, and all those experiences serve me daily as I perform my currentduties.

Today, there are more computer animation companies, software and hardware systems, andtalented animators, designers, and technical directors than I ever dreamed there would be.Unfortunately, there are more than there is a practical need for. As a result, the competitionfor computer animation projects is very keen, and the need for solid, experienced managersis critical. Whether or not the computer animation industry grows and at what rate will belargely determined by those responsible for bringing work in, hiring staff, selectingequipment, and supervising the successful completion of film projects.

An individual with good organizational skills, and a broad eclectic background in both thearts and in technology, and who can deal with people in a open and honest way, will "make-it" as a CGI user/manager in the animation business.

CAREER PROFILES 3.7 Geoffrey Y. Gardnerpage 73

Geoffrey Y. GardnerSenior Staff ScientistGrumman Data Systems

Computer ImageGeneration in Aerospace

I am a research scientist at Grumman Data Systems on Long Island, directing the ComputerGraphics project presently focusing on cartographic applications. My specialty is 3-D scenesimulation using Computer Image Generation (CIG).

The most positive aspect of my job is that it is fun; I look forward to Monday morning. CIGis a fulfilling blend of art and science, providing freedom to be creative within a well-definedframework that gives you something more than your instincts to hang onto. Because yourwork is visual, others can relate to it immediately. In addition, CIG has a wide range ofapplications, from artistic presentations to scientific simulation, offering the potential forinteresting diversity in your profession.

On the other hand, because CIG is highly dependent on hardware, you must learn to handlethe equipment, and you have to live with down time. Because people can understand yourwork easily, it is easy for them to be critical. I wish I had a dime for every time someone saidmy clouds looked like cotton balls.

The best aspects of the aerospace industry are the people, the facilities, and the professionalenvironment. I am currently working with colleagues who are intelligent, creative, andhighly professional, making teamwork very satisfying. Our graphics lab facility includes thepowerful computers and graphics devices needed to perform leading-edge research. Inaddition, we have hardware and software system support people who are essential. Theprofessional environment of a large company like Grumman provides the stability, salary,and personal benefits necessary for a long-term career commitment. This environment alsoensures, to a large degree, that one’s work will find application and contribute to a larger goal.

CIG requires a knowledge and understanding of geometry, including coordinate transforma-tions and perspective projection, as well as knowledge of sorting, hidden surface algorithms,shading models and texturing. An understanding of ray tracing and scan line algorithms isimportant.

One should be flexible and willing to apply the technology to a diverse set of uses.Communication skills are important. One must be willing and able to exchange informationwith other professionals. This includes making presentations as well as writing reports,proposals, and documentation. One must be willing to collaborate with and learn from othersand to take direction.

General computer skills required include knowledge of mathematics, skill in structuredprogramming, problem-solving skills for debugging, and knowledge of the appropriateoperating systems and peripherals. General graphics skills required include a feel for spatial

SIGGRAPH CAREER HANDBOOK3.7 Geoffrey Y. Gardnerpage 74

relations and an artistic sense for economy. Knowledge of the particular field of applicationis a plus. For example, at Grumman Data Systems we have become knowledgable in the fieldof cartography.

I got into CIG research starting with general computer programming, then programming fora vector graphics device, and finally plunging into CIG for simulator displays. Each step ofmy career was in response to a need at Grumman, and my willingness to cooperate has paidoff well for me. I have settled into CIG because it satisfies my yearnings as a frustrated artistas well as my interest as a trained scientist.

My outlook for the future of CIG is extremely optimistic. Although I am getting tired ofspinning logos, I am excited by the new application of computer graphics to visualization ofscientific phenomena.

To be a part of this exciting field, one will need a good basic higher education topped off withstudies in math, computer science, and computer graphics. A Ph.D. is a plus for independentresearch, but these days one could start on a PC and get hands-on experience right away.Computer graphics is a lot like a guitar. You can pick one up and start strumming a few basicchords, and you can spend the rest of your life aspiring to be another Segovia.

CAREER PROFILES 3.8 Hank Grebepage 75

Hank GrebeAT&T Bell Laboratories

A Bridge BetweenTwo Worlds

Computer graphics people generally travel on a bridge between two worlds — computers andgraphics. Computers have become new tools for artists, and graphics have become new toolsfor computer scientists. The synergistic relationship between computers and graphics is thetopic of numerous books and documents. My personal story is one of gradual integration ofcomputers into an artist’s career path, to the point where now my work involves computersmore than art.

Currently I am employed by a consulting firm that specializes in filling the many requests forUNIX based programmers. I have enjoyed an on-going assignment with the User Interfaceand Quality Planning Department at AT&T Bell Laboratories in Holmdel, New Jersey andfor the past two years have served as the System Administrator and programmer for a networkof 14 Sun workstations. My role as the local “Sun guru” involves keeping abreast of currentissues in the workstation market and provides an interesting research dimension to myresponsibilities.

Necessary tasks such as operating system installations and upgrades, filesystem backups, andassorted periodic maintenance jobs are essential for system administrators to harmonize thethree computer-critical elements—hardware, software and humans. The scope of my workcovers all three areas—specify new hardware, write code, and introduce new users to thesystem. Many of the workstation users are Graphical User Interface designers for AT&T’swide range of telecommunications and networking products and services. To educate bothnew and experienced users in the use of our computer resources, a Bell Labs human factorsexpert and I coauthored an introductory manual. It is also pleasing to find my backgroundin graphic arts is valued, when a request for designing an application’s “look and feel” ismade. A recent programming challenge has been to develop, in C under the X WindowsSystem, a graphical user interface prototyping tool, a type of CASE software that is in highdemand.

This has been quite a leap from my entry into computer graphics as a 2D computer animationcompositor and video recordist at NYIT’s Computer Graphics Laboratory. The transitionfrom artist/animator to programmer/system administrator has been a long-term process oflearning through manuals, onsite corporate training programs, conferences such asSIGGRAPH, and most of all, many hours of experimenting in front of a computer terminal.Computer graphic artists have nothing to lose by becoming more familiar with the tools theyuse.

3.8 Hank Grebepage 76


When I began undergraduate fine art training at the Boston Museum School in 1971, I didn’tknow whether I wanted to be a painter, a photographer, or a filmmaker. Marshal McLuhan’s“War and Peace in the Global Village,” Gene Youngblood’s “Expanded Cinema,” and theexperimental film work by Stan VanDerBeek and John Whitney, Sr. had great influence onmy own endeavors to push visual media into new realizations.

In 1973, I left the Museum School to work on “Cosmic Cartoon” at Steven Lisberger's andEric Ladd’s animation studio, then in Boston. Film animation was far from high technology,and we often wondered if smart machines would ever relieve the tedium inherent to thecreative process. Inbetweening, pencil tests, rotoscoping, painting and retouching cells allhad to be done the hard way; there was no digitizing. Developing the craft that would laterbe transferred to the computer world, I labored under manic-depressive job schedules until1978, when I abandoned animation tired, poor and disillusioned.

In 1980, while completing my undergraduate degree at the University of Wisconsin, I becameinterested in computer graphics. Upon seeing TRON’s use of computer imagery, myexcitement for animation was rekindled. I started small by learning BASIC and graphicsprogramming for Apple II’s, and later took PASCAL courses. Fancy graphics displaydevices were hard to find, so I attended my first SIGGRAPH in 1983 in Detroit to get a closerlook at what the big leagues were going.

ACM SIGGRAPH '83 changed my life. Soon after which I accepted an entry level positionat NYIT Computer Graphics Lab’s 2D Animation Production Department. This was afortunate opportunity for me to meet and work with many of the great creative minds ofcomputer graphics’ formative years. An apprenticeship under Dick Lundin, using hissoftware to create a flexible Gumby model, was a computer animation adventure I’ll neverforget. The resulting animation appeared in the SIGGRAPH 1984 Electronic Theatre withthe blessings of Arthur Clokey, Gumby’s creator.

In the mid Eighties, there was a flourishing of computer animation houses and a very excitingtime to explore, and sometimes, consider new opportunities. After a number of visits andinterviews, I realized that I had developed a commitment to UNIX, and considered workingon a specialized, non UNIX graphics box to be a risk to my progress in computer graphics.Later, during the shake out of animation houses, I wondered if perhaps even computeranimation could be a risk to my career.

When people began mistaking the actor Max Headroom for a computer-animation simula-tion, I felt that time could be better spent in other areas of computer graphics. Computerapplications aiding the publishing industry began claiming a larger share of the market. In1987, I joined the Technical Planning Department of NYNEX, where I was part of a teamdeveloping workstation based Display PostScript applications for Yellow Pages directorypublishing. In New York I found myself smack in the middle of Wall Street’s workstationboom. The demand for high speed, multitasking, windowed computers was growing fasterthan the supply of qualified people to develop them. It was sad but true: large companies hadserious problems to solve, plenty of money to spend, and didn’t care about how to animateGumby.

CAREER PROFILES 3.8 Hank Grebepage 77

That returns me to the present. Acquiring a working knowledge of UNIX, C programmingand workstations has broadened my employment options. Experience in art and design hascontributed favorably in all of my computer graphics positions. Private creative work isactually a low tech counter balance to my high tech work environment—I write, draw andoil paint—often without the aid of a computer. This feels good to me and gives me totalfreedom over my creative decisions; and, in the future, I envision establishing a computergraphics production facility serving television and print industries. Computer graphics hasbeen good to me, a wise career choice. I’ve enjoyed navigating through these state-of-the-art waters, and I’m fortunate to have kept my boat afloat, with much gratitude to the visionarypioneers who charted their courses before me.

3.9 D.E. Heardpage 78


D.E. HeardInformation Display GroupTektronix

Technical TrainingManager

The Information Display Group at Tektronix produces interactive graphics terminals,workstations, copiers, and supporting graphics software products primarily for scientific andengineering applications. This is a very competitive marketplace characterized by rapidmarket growth, increasing numbers of new applications and the anticipation that eachgeneration of new products will bring significant improvements in price/performance. Inaddition, customers in the interactive graphics marketplace anticipate and have every rightto expect the very best technical support from Tektronix and other vendors.

Technical support is provided by Field Systems Analysts and includes support for productfeatures, interfacing specifications, data communications, networking, and operating sys-tems. The scope of the support requirement within an environment of rapidly developingapplications places a premium on field systems analyst training and development. Theresponsibility of the Technical Training Manager is to provide for this training. The rapidevolution of customer applications means that nearly every training requirement must besatisfied with a newly developed course.

The job of the Technical Training Manager requires conceptual understanding of nearly allaspects of data communications, computing systems, and interactive graphics. It alsorequires a good background in product marketing and at least a general familiarity with thetargeted vertical markets. The positive aspects of the job are the challenge of a dynamicworking environment and the opportunity to make very real contributions to the developmentof many very talented young professionals. Having access to some of the finest professionalsin computer graphics doesn’t hurt either. The only negative aspect is not being able to workdirectly with customers very often.

Prior to becoming Technical Training Manager, I spent twelve years in application softwaredevelopment, followed by ten years in field technical support as a systems analyst and atechnical support manager. My formal background is in mathematics.

Typically, the development and delivery of each training class is treated as a project withobjectives, specifications and resource requirements. I develop and secure agreement on theobjectives and specifications and obtain resources as required from my own group, as wellas engineering, marketing and field sales groups. Delivery and attendees are scheduled basedon requirements from the field technical support managers. And that’s all there is to it!

CAREER PROFILES 3.9 D.E. Heardpage 79

Given the continuing trend toward an application driven marketplace and for interactivegraphics, training requirements for field support specialists will increase to six to eight weeksannually. The increasing diversity of interactive graphics applications will require the activeinvolvement of many more “applications specialists” in training development and delivery.With a broad background in computing and marketing, and with good organizational skills,excellent futures await those who enjoy an opportunity to contribute.

3.10 Holliday Hortonpage 80


Holliday R. HortonSenior Animator

An Artist in aScience Environment

My job title is Senior Animator. Wait...or is it Chief Animator? Sometimes it is merelyAnimator. Where I work, my job title is ambiguous. There is no question characterizing thecareer status of a Chief Scientist, Staff Scientist or Senior Scientist, but it is difficult to classifythe job status of a traditional artist in a science environment. My education and experienceare valued, but I am generously valued for my talent. Most of the time, people call me“Chief.”

I work in the Advanced Scientific Visualization Laboratory at the San Diego SupercomputerCenter (SDSC) in La Jolla, California. SDSC is part of the University of California, SanDiego (UCSD) and is operated by General Atomics with major funding from a cooperativeagreement with the National Science Foundation. SDSC is one of four NSF nationalsupercomputer centers; the others are located at Carnegie-Mellon/University of Pittsburgh,Cornell University, and the University of Illinois at Urbana-Champaign.

I pursued an Internship in computer animation at SDSC during my senior year at UCSDwhere I was studying traditional film animation, video, photography and painting. I had astrong passion to learn computer animation yet there were no formal computer graphicsclasses being taught at the University (nor in the San Diego area). My traditional animationclasses (and I took 7 of them) required thousands and thousands of drawings which involvedfilming them one at a time underneath the animation stand. I wanted to learn how to generateanimated images without the painful side-effects of “paper-cuts” into the late hours of themorning. Instead, I wanted to walk away and have a computer render and film (or videotape)my images. My animation professor knew of my interest and encouraged me to research thefacilities at the Supercomputer Center.

It took a lot of nerve to walk into that huge white building with the monstrous satellite dishon top. It was a “Supercomputer Center” and I had never even touched a computer nor didI have any clue what people actually did with them (besides make outrageous images). Iknew there was a supercomputer in there, but how big was it? I had no idea. All I knew wasI wanted an internship in computer animation and I felt that it wouldn’t hurt to ask.

I had walked in the door at the right time. It happened that they were looking for an artist/animator at the same time that I was looking for an internship. Their reaction was “When canyou start?!”, and the next day I had a CRAY account.

As I said, I had never touched a computer. My workstation was a Silicon Graphics IRIS 3130with Alias Software and I was told where the manuals were. That was it. UNIX looked likeRussian, and the Alias software had just been installed. If I had a question, I would have to


CAREER PROFILES

place a call to Canada for customer support. I had to learn on my own, but I was ready witha vengeance. I spent all of my extra time (even Friday nights) on the workstation and wasimmediately hooked on computer animation.

My internship was a dream come true, but there was another dream, a “real job.” I exploredthe possibilities and I was told that there was a proposal before the state legislators for a $6million grant to create a “world class” graphics lab. They were going to hire a Manager ofScientific Visualization, Programmers, and an Artist/Animator. Two and a half years later,the lab is finally coming together and I have a unique role as Senior Animator in thevisualization laboratory.

Working with scientists is a lot different than I ever thought it would be. Stereotyping andgeneralizations are unavoidable in any profession, but art and science are real targets for eachother’s verbal abuse. Generally, we think of scientists as “left brained” people and artists as“right brained” people, where art and science are disparate dichotomies.

In many cases, the generalizations are true. I giggle at some scientist’s pocket protectors;they look at my achromatic wardrobe and ask me “Who died?”. There are those “little things”that happen constantly that define our two different ways of thinking. For instance, I’venoticed that when they have an idea, they quickly visualize it and draw it on a whiteboard togive the idea concrete meaning, whereas my whiteboard is usually clean because I canvisualize and clearly store ideas in my mind. Predominantly, they prefer images to “makesense” and assume little explanation is needed for interpretation.

However, based on my experience, we are very much alike. The people I work with areextremely creative and I enjoy listening to their ideas. Artistically speaking they say theycould “never draw a straight line” and the nice thing about computer graphics is that it servesas a more malleable tool for scientists to draw their straight lines. Some of the most incredibleimagery has been created through scientific research. There is a certain sense of beauty andinnocence from images that once existed as numbers. Scientists often astonish themselveswith their own work, creating images that could take an artist years to perfect.

My time is devoted to several research projects. One such project is an interactive colortheory tutorial (using Macromind Interactive on a Mac II). The tutorial is targeted towardsthe Center’s 2,800 scientific users around the U.S. (including Alaska and Hawaii) and the100 people who are on site. Scientists have a choice of 16 million colors and have a hard timeselecting even two. Mixing colors is a difficult process and color harmony is a mystery. Thetutorial should help them better understand the use and relationship of color and let themenjoy using it. Part of the tutorial will describe video and film and how to properly (sanely)deal with computer graphics hardcopy. Most of the scientists I have worked with areintimidated by a simple VHS machine or a fully programmed camera, and they have to learnhow to operate a film recorder and stacks and stacks of digital video equipment (run by theCRAY Y-MP).

Besides my other projects, the majority of my time is spent creating animations. Myanimations range from a rotating molecule (for a scientist) to an animated spacecraft andasteroid for NASA. My work is not “glitzy” flying logos nor is it the nocturnal hours of a“production” environment. It is a research “university” environment (this means we get to



wear shorts and flip-flops to work). Granted, at times I wish I could be doing “fancy graphics”and have more artistic freedom in an environment with other aspiring artists, but the scienceenvironment is an incredible technological learning experience.

A CRAY Y-MP and an Alliant FX/80 were installed at the Center. We bought 12workstations for the new visualization lab with both an audio and a video room for post-production editing. I have been using both Alias and Wavefront software on two SiliconGraphics Iris 4D/210GTX’s and am taking a C programming class to help implementsoftware for rendering animations of scientific data. People at work joked about how funnyit was that an artist was going to take a programming class. They laughed even harder at thethought of themselves taking an animation class.

My reason for telling you my life story is because I’ve heard too many artists remark abouthow they are skilled in art but don’t know anything about computers, yet they want to beinvolved with computer technology. My advice is to research the facilities in your area andoffer your talents. I went to several animation production companies in the San Diego areaprior to SDSC and all of them were open to the idea of having an intern. There may bewonderful opportunities if you are willing to go out and find them. People are generallywilling to have someone work for free (even ten hours a week) and that is the ticket. Provingthat you are valuable and indispensable is one of the keys to a permanent position. Even ifyou do not become a permanent employee in the company, it is an excellent opportunity tobuild a portfolio and gain practical experience for other career opportunities.

CAREER PROFILES 3.11 Stephan R. Keithpage 83

Stephan R. KeithTechnical ManagerSterling Federal Systems, NASA Ames


I am a Technical Manager for Scientific Visualization, in the Space Sciences Division andthe Computational Chemistry Division at NASA Ames Research Center, as an employee ofSterling Federal Systems, a contractor to NASA. Sterling Federal Systems provides softwareservices to NASA Ames, and supports areas of research such as Computational FluidDynamics, Wind Tunnel data acquisition and analysis, Life Sciences, Space Sciences, andComputational Chemistry.

Scientific Visualization is not simply displaying data from data intensive sources althoughmuch of this effort has its origins in the fact that we now have many highly active, very dense,data sources, and we need methods to examine and interpret data in the largely independentbut converging fields of computer graphics, image processing, computer vision, computeraided design, signal processing, and user interface studies, and its specific role is to act as acatalyst between scientific computation and scientific insight. For more technical informa-tion regarding this new multi-disciplinary methodology, please refer to the visualizationSelected Readings cited in Section 2.0, Categories.

Personal Education

My formal education and degrees are in Electrical Engineering. After earning an A.A. fromChabot Jr. College, I earned a BSEE in 1974, and an MSEE in 1981, both from the Universityof California, Berkeley (UCB).

I intentionally designed my college education to be broad, as I wanted my skills to encompassthe fundamentals of hardware and software. I acquired an education which included logicaldigital design, assembly language programming, compiler design, operating systems design,computer architectures, and an introduction to every programming language I could get to(FORTRAN, PASCAL, SNOBOL and LISP), as well as some classes which had computergraphics in them. Later, when I went to graduate school, I took classes in microcomputersystems design, image processing and computer graphics.

My professional goal was to design and build computers, a fairly broad and ambitious goal.However, I wanted to acquire knowledge of as many computer fundamentals ranging fromsoftware to hardware as possible. Much of my philosophical motivation for education camefrom the belief that generalists make better scientists and engineers. As a result, much of myprofessional work has been approached as a multidisciplinarian. I had a desire to docomputer graphics early in my education, but I was not aware at that time that mymultidisciplinary education would be so useful to me in computer graphics. My upperdivision work required two years of physics, two years of calculus, one year of chemistry,analytic chemistry, materials science, and fundamentals of electric circuits. It is importantto note that the chemistry, calculus and physics provided me the fundamental skills necessaryto be a good scientific visualizer.

3.11 Stephan R. Keithpage 84


My education did not stop at the formal process. I often make a personal investment inUniversity Extension courses, attend seminars given by manufacturers of hardware orsoftware, and join groups or organizations which discuss issues of professional interest. Isubscribe to many free and fee magazines and journals. In this manner, I maintain existingskills and develop new skills as my profession requires.

An Account of My Workin Computer Graphics

From1972 through 1974, at UCB, I was introduced to computer graphics via an IBM 1130and an IBM 2250 vector graphics display unit. Through courses and independent study, Ilearned about display lists, hardware, software, data structures and mathematical conceptsfor computer graphics. When I graduated in 1974, I left with two intellectual goals:microcomputers and computer graphics, both of which require multidisciplinary ap-proaches.

I found to my dismay that there was very little work being done in graphics. It was calleda dead-end field (if you could call it a field), highly specialized, academic in nature, and very,very expensive. I discerned that I was killing off opportunities to get any kind of job by beingso specific about computer graphics, and that I would have to let the graphics interest remaindormant for a while. Besides, I really wanted to build computers ... or so I thought.

In 1974 at Lockheed Missiles and Space Company, I worked as a scientific applicationsprogrammer. This site had a Vector General vector display unit, and I convinced mymanagement to allow me to do some computer graphics work.

As I was still quite interested in microcomputer systems design, I transferred to LockheedPalo Alto Research Laboratories (LPARL), as a microcomputer systems designer to helpbuild one of two microcomputer systems which would go aboard the Solar MaximumMission, co-sponsored by NASA and ESA (the European Space Agency). Although mycomputer graphics activities ceased for a time, it was here that I learned and developed thefoundations for communicating with scientists, and for interpreting scientific needs intoengineering reality. At LPARL, a Data General Eclipse and a RAMTEK 9000 series rastergraphics display became available. I was able to spend my evenings and weekends on thisraster graphics system, and experimented with animation, timing and scripting, objectcreation, interactive graphics techniques, and photography.

I did not take computer graphics seriously from a professional point of view...until I attendedSIGGRAPH ’79. I walked away from this conference dazed and somewhat depressed,because I felt my graphics efforts were puny in comparison with the graphics presented atthe conference. Nonetheless, there was no turning back; my interest in computer graphicshad taken a firm hold of my professional life.

At this time in my professional life, I had what might be called a “stable career path”, whereconcerns for home, a regular paycheck, and a career at a single company were my greatestprofessional concerns. What was to follow was a comparatively rapid change of jobs (aboutevery two years) from graphics position to graphics position. My goals were very clear tome. Every professional action, every job I took, was to get me the graphics experience Iliterally craved.

CAREER PROFILES 3.11 Stephan R. Keithpage 85

As time passed, I acquired breadth and depth in many areas of computer graphics. My attitudebecame: “When the computer graphics in the job ends, my interest in the job ends.” Althoughsuch an attitude was generally considered outrageous, if not unprofessional, by the standardsof professional conduct at that time, by today’s standards this attitude is not unusual. Thereis now a greater interest in “loyalty to the profession” than “loyalty to a company”.

My professional computer graphics work started with Computer Sharing Services, where Iworked for two years on a business graphics package. Although it was not the exact graphicsI wanted, I did have access to graphics equipment, I was doing graphics work, and I waslearning about team software development, how to design and write device drivers, and howto develop documentation techniques and graphics test techniques. When our main customer(AT&T) broke up, continued efforts in computer graphics diminished.

I then went to work at ATARI, where I programmed game cartridges for Sesame Street, andworked on various research projects, including research for interactive video disc games. Atthis time, ATARI was in its decline, and advanced graphics activities were not available tome. After ATARI, I worked for a start up company that didn’t make it. However, I did useUNIX and C while there, and I was introduced to the graphics standards GKS, VDI and VDM(VDI and VDM are now called CGI and CGM).


I had learned that NASA Ames was beginning development of a project which was to includea CRAY supercomputer, two AMDAHLs, three VAX’s, and twenty-five SGI IRIS worksta-tions. Needless to say, I was intensely interested in the project, called the NumericalAerodynamic Simulation Project, or NAS. I found out that Informatics (now Sterling FederalSystems) was the contractor commissioned to do the work. I was able to get a job with themajor contractor, and I was introduced to the NASA scientific community. My task was towrite a graphics package for this supercomputing graphics network, which may be called anelectronic wind tunnel. The process of computation is called CFD, or computational fluiddynamics, and primarily uses the Navier-Stokes equations as the basis for generatingcomputer flow fields over simulated surfaces designed by scientists and aeronautics engi-neers, computing them on the CRAY, and using the IRIS workstation to display these flowfields. I worked on this project precisely for two years.

From the NAS project, I transferred to the Space Sciences Division. My task there was todetermine the graphics needs of the division, develop a model of how the scientists work,make recommendations, and if acceptable, implement them. I developed a user friendlyscientific display system called GVS (General Visualization System), which allowsastrophysicists and atmospheric physicists to examine large volumes of data visually andinteractively. To date, we have examined galactic evolution experiments, extinctioncoefficients for smoke particles, ozone holes, and various pressure, temperature and densityfield simulations for the atmospheres of Mars, Venus and Earth, and more work for thissystem is on the way. At this writing, I have worked on the project for 2.5 years, and the GVSis reaching its final stages of development.

Presently, while I am finishing my work with the Space Sciences Division, I have begun parttime work with the Computational Chemists at NASA Ames doing Scientific Visualization.

3.11 Stephan R. Keithpage 86


What Makes a Good Scientific Visualizer

It should be clear that a good scientific visualizer needs a multi-disciplinarian background.My educational background in chemistry, math and physics has paid off, because it certainlyhelped to understand, and communicate with, the “average” scientist. A firm foundation ingeneral science, physics, chemistry, and math (such as algebra, trigonometry, calculus,differential equations and linear algebra) will prove useful in helping you to understand tosome degree what the scientist is seeking. Often, this will not be enough, and you may haveto spend some time working with the scientists and their data, and reviewing some of thescientific fundamentals to gain the scientific insights from the data.

From a computer science point of view, you need to understand such issues as softwareengineering, programming, operating systems and communications. Depending upon howportable you want the software to be, you will also need to address the issues of graphicsprogramming standards (such as PHIGS or GKS), software portability, and maintenance.Maintenance means being able to upgrade the visualization software for new applications ordata presentation methods, as well as fix any software bugs in the visualization system.

There are other issues which are more human than technical. One significant issue is thatwhen scientists and engineers work together, they have to develop a mechanism forcommunication. The goal is to allow scientists to communicate their needs in such a way thatthe engineer is able to interpret these needs in a technical manner. The engineer has tounderstand what the scientist wishes to accomplish, in the scientist’s language, in order togive them the tools they need to continue their studies or work. This is where having abackground in physics or chemistry and the various mathematics prove very useful to theengineer.

In this work, I have found that technical talents are not enough. You must have goodcommunications skills, such as writing, reading, technical writing, public speaking andproposal presentation. A final and key ingredient for success as a scientific visualizer is tomix technical understanding with a little simple human understanding, because it is people,not computers, who depend upon you to make the technology work for them.

CAREER PROFILES 3.12 Carl Machoverpage 87

Carl MachoverPresidentMachover Associates Corp.

Computer GraphicsConsultant

I am currently President of Machover Associates Corporation, a computer graphicsconsultancy which provides a broad range of management, engineering, marketing andfinancial services to computer graphics users, suppliers and investors.

Application areas include Computer Aided Design (CAD), Computer Aided Manufacturing(CAM), Computer Aided Engineering (CAE), Computer Integrated Manufacturing (CIM),business, slidemaking, art, animation, graphic arts, process control, technical documentation,engineering and scientific applications.

I am also an Adjunct Professor of computer graphics at Renssalaer Polytechnic Institute. Igraduated as an Electrical Engineer from Renssalaer Polytechnic Institute in 1951, workedas an engineer on bombing and radar systems, and servo mechanisms until 1959 when Ibecame part of Skiatron Electronics and TV, one of the early graphics companies. In 1960,I became one of the founders of Information Displays, Inc., again, one of the early designersand manufacturers of computer graphics systems. I stayed with that company, essentially ina marketing role, until 1976 when I left to form Machover Associates Corporation.

It is not clear to me that you can train to be a consultant. When one feels he/she has enoughmarketable experience, one can either seek clients as a part-time venture, or “go-for-broke”as a full time business. I chose to “go-for-broke”. A consultant must have a vast backgroundof experience. From my point of view, experience should be balanced among technical,management, marketing, and financial areas. There are, of course, a variety of ways in whichconsultants operate; some consult strictly on management, some strictly on technical areas.I have tended to operate across the board.

About a year ago I was asked to give a speech at North Carolina State University on what aconsultant does, and I thought a brief summary of that might be a useful guide. Essentially,a computer graphics consultant operates in the following ways:

FOR USERS:

- Develop application, benefit and cost analysis data- Identify potential suppliers- Prepare systems specifications- Make source surveys- Evaluate Proposals- Educate management and users on systems, applications, and

state-of-the-art technology- Assist with systems installation and training- Provide system customizing services

3.12 Carl Machoverpage 88


FOR VENDORS:

- Identify trends and opportunities- Evaluate competition- Scope market- Identify potential customers- Identify distribution channels- Provide marketing guidance- Provide hardware, software, and graphics arts design services

FOR INVESTORS:

- Scope market- Evaluate business plans and companies- Identify trends and opportunities

FOR EVERYBODY:

- Provide impartial non-vested interest advice- Identify potential employees- Identify potential investment and acquisition opportunities- Conduct seminars/workshops/conferences- And, more...

It seems to me of all the items in there, the most important for a true consultant is to be in aposition of giving useful, unbiased, non-vested interest advice. That is, I do not see how youcan be a consultant and either covertly or overtly represent a particular company.

I think the other elements that a successful consultant needs are to not get insulted if someonedoesn’t take your advice and to not have a need to see the results of your advice. If those lasttwo needs exist, one might be better as part of an operating company than as a consultant.

As an indication of the range of activities that one becomes involved with, MachoverAssociates Corporation has served such users, suppliers and financial organizations as Adler& Co., ARD, AT&T, Auto-Trol, Bechtel, Boeing, Borg Warner, Calcomp, DuPont, EastmanKodak, Ford, Frost & Sullivan, General Electric, Gould, Hewlett Packard, IBM, INA,Optigraphics, Polaroid, Prime, Sanders, Summagraphics, Tektronix, WCA Management,Westinghouse, and Xerox. I also serve on a number of Advisory and Editorial Boards, havewritten numerous articles, and conduct seminars and lectures worldwide.

CAREER PROFILES 3.13 Aaron Marcuspage 89

Aaron MarcusAaron Marcus and Associates

Independent ComputerGraphics Consultant

What Do I Do?As the founder and Principal of Aaron Marcus and Associates (AM+A), I am responsible forall the work of my firm. AM+A is a consulting business that researches, plans, designs andimplements projects in computer-based information-oriented graphic design, electronicpublishing, user interface design, and information display. My activities involve marketingour services, overseeing all projects, and providing tutorials on the subjects of our expertiseto developers and users of computer graphics systems.

Our projects include determining the appearance and interaction characteristics of computergraphics systems and discovering ways to visualize complex structures and processes. Weare primarily called upon to design typographic details, symbols and icons, charts anddiagrams, page and screen layout, color, animation and interaction sequences, informationorganization, and the viewer’s conceptual model or metaphor. This activity may also involvevideotaping and interviewing users of computer graphics systems. In addition to requiringboth the analytical skills related to the technical means of achieving effective visualcommunication and the design synthesis skills, our work also requires verbalcommunication skills. We are usually called upon to organize and write various kinds ofdocuments, such as descriptions, guidelines, specifications, recommendations, andanalyses.

My BackgroundMy education was originally in physics at Princeton University; then I received a graduateeducation at Yale University Art School’s Graphic Design Department. I have worked forapproximately twenty years as a traditional graphic designer; as an artist working withcomputer graphics, conceptual art media, and concrete poetry; as a researcher in computergraphics and graphic design; and as a teacher in these subjects. I taught graphic design andcomputer graphics in universities such as Princeton and the Hebrew University/Jerusalemand in art/design schools for ten years. When I began my work in computer graphics as asummer intern researcher at Bell Telephone Laboratories, Murray Hill, NJ, in 1967, myinterdisciplinary background was somewhat unusual. In 1982, I decided to try to put thisbackground to work by creating an independent consulting firm that serves many applicationareas of computer graphics.

Education Suggestion

To acquire the proper background in our area of work, it would be helpful for someone tohave serious interest in, possess skills in, and study the following topics:

3.13 Aaron Marcuspage 90


Information-oriented, systems-oriented graphic design, especially:TypographySymbolismSpatial organization, grids, etc.ColorAnimation, sequencing, storyboardingChart, diagram, and document designPublishingCorporate identity programsGraphics editing with computersInformation designTechnical publishingHuman factors, ergonomics, applied psychology, etc.

Some graphic design programs, such as those at Yale Art School, the Institute of Design atIllinois Institute of Technology, the Visual Communications program at Ohio State, and theGraphic Design Department at the University of Seattle, offer courses or curricula orientedto these topics. Those schools with close association or proximity to computer scienceprograms provide especially valuable opportunities. Many art and design schools alreadyprovide some courses in these topics, and many university extension programs are nowbeginning to offer courses focusing on these subjects.

Pluses and MinusesOur business is in a new area of development within computer graphics that is rapidlyexpanding. Our work provides many exciting challenges: to educate clients, to research anddevelop new techniques of communication, to have a direct influence on users’ or viewers’learning, use of, and satisfaction with computer graphics systems. The work is bothintellectually stimulating and visually appealing. One advantage is that, like the freelanceprogrammer, a single person may set up shop and maintain a business serving an individualclient or a small number of clients, as sometimes happens in the electronic publishing field.Of course it is also possible to join a large corporate group pursuing the same activities.

One disadvantage is that, unlike traditional small-scale graphic design projects, our projectsoften involve many other professionals and take place over considerable time scales: weeks,months, years. As in architectural design, we must participate in an interdisciplinary teambefore we see our designs realized, and many times our designs may not emerge as weoriginally envisioned them because of the intervening time, people, and processes. Our ownfirm is a small business, with all the traditional advantages and disadvantages; in fact, we arestill very much like the small (5 to 15 people) corporate design studio. In some cases, thesalaries for small firms or departments of corprations specializing in this field may not be ashigh as in traditional "high-tech" areas.

Changing PathsFor the student wanting to move into this field, I recommend trying to do summer work orpart-time work during the academic year in some business working in this field, to seewhether the activities, kinds of people, and physical environments are enjoyable andworthwhile. If it is not possible to take a suitable number of courses for a degree in some fieldrelated to the subjects mentioned above, it may be necessary to apprentice to some firm andtake appropriate extension program courses to acquire the specialized knowledge that is

CAREER PROFILES 3.13 Aaron Marcuspage 91

necessary. In a few cases, it may be possible to finish an undergraduate program in computerscience or computer technology and switch to a graduate program in design and visualcommunication.

For those planning a drastic career change, please bear in mind that I was once myself nervousabout leaving physics, high technology research, mathematics, etc., for the “low technology”subjects of graphic design and visual communication. I discovered that in this new world, Ihad so much fun, was intellectually challenged, and delighted by all the new ways that I coulduse my old interests, that I never regretted making a major career change.

3.14 Mike McCulleypage 92


Mike McCulleySenior Art DirectorBusch Creative Services

Senior Art Director

My current position is Senior Art Director at Busch Creative Services, a subsidiary ofAnheuser-Busch. We are primarily an audio-visual firm which specializes in producing largebusiness meetings. Not only do we produce most of the meetings for Anheuser-Busch, ourparent company, but we also produce a large amount of meetings for external clients. Someof the clients I have worked with are Southwestern Bell, United Van Lines, Volkswagen andAetna Insurance.

My main job function is to design and produce various media communications for thesemeetings. This can range from simple one-projector speeches to multi-projector extravagan-zas in concert with video projection, special-effects, lighting, lazers and choreagraphedtheatrical productions. As an Art Director I visualize these elements through storyboards andcolor renderings.

The computer is sometimes used as a design tool, in developing layouts for staging,storyboards and logo design. I also use it for finished slide work and computer animation.My profession encompasses several categories. I am primarily a user, though I have been aneducator, researcher and manager at various stages in my career.

Most of the skills I utilize in computer graphics are from my design and art training fromcollege and on the job. However, one of the most useful skills I learned was inhighschool...typing! I utilize it almost everytime I turn on the computer.

I have also found that a positive work attitude, a commitment to quality and most of all,perseverance, are all important to making it in computer graphics. Making it in any kind ofgraphics position is tough. In computer graphics it is even tougher because not only do youhave to be an above average designer but you have to understand many different disciplines.In my job you have to be multidisciplinary. In other words, it helps to be a good writer as wellas a good typist, understand business communication, music, art, computers and technology.Above all, you must have discipline. I have never met anyone with talent who was notdisciplined in his or her approach to their career. Talent does not just happen, it is anevolutionary process of learned skills applied with creativity and discipline towards a singleart form. Whether that art form is wood carving or computer graphics does not matter, theprocess is the same.

My career as an artist started in 1975 upon graduation from college. I worked in printproduction and design for three years. During this time period, typesetting was in a transitionphase from hot metal type to what we called phototype. There were no phototypesettingshops in the city where I lived (Jacksonville), so we faxed our copy to a shop in Orlando. Theyshipped it in 24-36 hours or less via Greyhound bus. This was unheard of at the time. Theusual turnaround for hot metal proofs was about two to four days.


CAREER PROFILES

In 1978, I moved to Dallas and began working in multi image at Creative CommunicationsGroup. We used a variety of traditional methods for production. At this time, it was still allmanual pasteup of copy and negative stripping for photo drop ins. In 1979, we heard abouta computer system that could do slides called Genigraphics. After visiting the new facilityand seeing the demonstration, I was greatly impressed. Although the computers’ designcapabilities were limited and it could only output 64 colors, it was still amazing. I told myboss about it and he laughed and said it would only be a “passing fad". I resolved, at that time,however, to learn more about computer graphics.

Finally, in 1982, the chance came. I was then Art Director at Mary Kay Cosmetics and incharge of all internal business graphics production. I had been using a Genigraphics ServiceBureau for at least a year, but now a new computer graphics company called Dicomed wasoffering some serious competition to Genigraphics. They had a new concept of selling designstations to the end user, and then using a service bureau for imaging. I liked this idea becauseit brought control of the design process in house. This brought the cost to under $100,000for a station, because you did not have to purchase a film recorder which cost $250,000 inthose days!

Once we had the system installed and the “bugs” worked out, I was a full-time computergraphics junkie. I began learning all I could by subscribing to the two magazines available,Computer Graphics World, and the new Computer Pictures magazine. I also called for asmany demo reels from the pioneers in special-effects and computer graphics that I could getmy hands on. The companies and universities using computer graphics at this time wereRobert Abel and Associates, NYIT, MAGI, and Triple I.

It was also at this time I attended my first ACM SIGGRAPH conference in Dallas. Talk aboutsensory overload! I was still mystified by a lot of what I saw and heard there. I didn’t knowthe difference between a frame buffer and an algorithm. However, I decided to become aComputer Graphics specialist.

During this time period, about 1983, I contracted out for my first 3D Animation project. Upto this point, I had only used film opticals for any motion graphics or film animation. A goodfriend of mine, who was also a computer graphics enthusiast, had helped develop a 3D systemat a local video production facility in Dallas, the first of it’s kind in the Southwest! Theyoutput directly to videotape; what a concept! To my knowledge, no commercial 3D systemswere available at the time. The animation turned out great, and we used it at the 1983 MaryKay Seminar.

In 1984, I was hired by Busch Creative Services. BCS handled all the business graphics andmeetings for Anheuser-Busch as well as for external clients. One of my duties was to designa computer graphics facility. The facility was completed in 1985 and was considered stateof the art at the time. It incorporated a minicomputer system and three PC’s,which were ableto output to a Matrix film recorder for high resolution slides. It also had a Sony VO-5850 3/4" editing deck for frame by frame animation. The systems used were a Via Video SystemII (now Du Pont Design Center), a West End Film Artwork (now Pansophic Studioworks),and a Cubicomp Polycad 10.

As I have continued my efforts in computer graphics over the last five years, technology hasimproved steadily. It is now almost possible to do an animation project without fear of thesystem crashing during the course of the project. (Did I say that ? Nah.) My system now



includes a 20 Mhz 80386 compatible with 5 Mb of RAM, 110 Mb hard disk, 40 Mb tapestreamer, VGA graphics board, and a TARGA-16 graphics board. For slide and video basedprojects, I use Pansophic Studioworks, TIPS, and Virtual Video Producer. For desktoppublishing, I use WordPerfect and Pagemaker. I have also recently began learning computermusic using a Casio keyboard and a MIDI sequencing program on the PC,which can be outputthrough a multi timbral sound module with 16 instruments loaded simultaneously! Looks likecomputers have affected music as much as graphics!

Sagebrush Wisdom

As an end-user, I would continue to urge artists and students to study computer graphics andemphasize that the computer is just a tool. It will not necessarily make you a better designer.Good design comes from the mind and through the fingers, not from the mouse and keyboard.The computer may help you accomplish your task in a more expedient fashion, as well as letyou explore more design alternatives on a given project.

With each passing year the design limitations imposed by computer graphics are fading away.The only limitations I see that will always be with us are the ones we impose on ourselves ascreators and the limitations from the clients who purchase our work. That will never change!

CAREER PROFILES 3.15 Theresa-Marie Rhynepage 95

Theresa-Marie RhyneComputer Artist/Independent Art Educator

Portrait of aComputer Artist

The life-style of a contract computer artist is not very different from that of a free-lancecommercial photographer or a consulting engineer. You must have a desire to be self-employed and possess a high level of self-confidence in order to market your talents. Youalso need to have effective visual, spoken, and written communication skills, as well as anaffinity for working with computer technology. In some areas, you may also need moretechnical skills.

There are numerous ways to gain the knowledge or educational background connected withtechnical and visualization skills in computer graphics (see Computer Graphics 20(1),February 1986). Although I gained my skills by working in a computer center at Stanford andteaching myself how to use the Lisa and Macintosh computers, colleges are now offeringcourses or programs in computer graphics (see Computer Graphics, November, 1985). Now,whether formally trained or self taught, you can become qualified to be a computer artist. Butwithout persistence and risktaking...there is no glory, and very likely no paycheck. You mustdevelop your identity as a practicing contract computer artist or technical communicator.

The first step is to take an inventory of your skills in computer graphics. Are you best atcreating slides for presentations, programming, directing the generation of images on largemainframe computers, rendering on computer-aided design systems, or drawing with the aidof painting software? A good way to evaluate your skills is to think about the things that youspend the most time doing and enjoy doing the most, and also whether or not other people likethe work that you do. Be sure to have other people review and critique your work to determinewhether it is something others would be willing to buy.

The next task is to develop the portfolio which permits marketing of your talents. A portfoliodefines an artist’s style and technique. Assuming that you are interested in and skilled inseveral of the areas mentioned above, a single portfolio should not contain all of these things.You might have several portfolios, each illustrating your skills in a given area. Thesepresentations are best when they define the current skills of the individual computer artist,along with future aspirations.

Now, here we go out into the real world of computer-generated images. You can marketcomputer arts services to various groups of businesses and professionals. You can selldesktop publishing design skills to small businesses as well as corporate accounts. Profes-sionals in the legal, medical, and educational fields can have enhanced presentations withyour computer-created slides. (As an example, you might create cover designs for alumnaepublications.) The essential aspect of effective marketing, from the artist’s perspective, is thestrength to endure many rejections in exchange for one or two acceptances. The people whoare successful in this field are the very persistent ones.

3.15 Theresa-Marie Rhynepage 96


One way to find out about potential clients is to attend conferences and keep track ofacquaintances. For example, printing companies may want to contract art work forpublications. Attend printers conferences. Make some slides of what you can do, and beprepared to sell the concept of artistic design, as well as the specific art work. Find out aboutarts organizations and small companies in the area. People frequently need signs. One of myrecent assignments was the brochure and ticket design for a symphony orchestra.

Once you have a client, it is time to figure out terms of payment which may or may not besubstantial. Contract computer artwork is frequently negotiated on a lump-sum, hourly, orcombination basis. You may be paid $15 to $50 an hour for a normal job.

If you are hired on a project to create computer art, often you will be asked to quote an hourlyrate for your services or to estimate the cost of the job. This is a process of guessing andlearning. Figure out your own hourly rate, talk with other computer artists to be aware ofgoing rates, and learn from your mistakes of under-estimation of time required to completea given job. Above all, be prepared to give an estimation on the spot. If you go home andcome back two days later, you are not likely to get the job.

If a client is buying an already created image from your portfolio, quote a price for the artworkwithout hesitation. Also, keep the copyright privileges on your artwork unless the clientwishes to provide you with a financial offer you cannot refuse for these copyright privileges.An artist can sell an image and still maintain some control over image reproduction [by] filingand retaining copyright privileges. In dealing with copyright issues and future matters ofroyalties, it is a good idea to consult the legal profession and to develop marketing approacheswhich end in the formulation of a contract. In San Francisco, The Bay Area Lawyers for theArts, Fort Mason Center, will provide services for practicing artists. For further informationabout how to copyright images, see “Are Your Images Being Ripped Off?”, IEEE ComputerGraphics and Applications, March, 1986.

Here is a closing piece of advice on being a practicing computer artist. Keep in touch withcolleagues. (ACM SIGGRAPH is an excellent way to do this.) By maintaining contacts, youhave more opportunities to do new, interesting things as desired. Expand your futurehorizons as to the types of computer graphics projects you would like to be doing, and keepup with the changing technology.

CAREER PROFILES 3.16 Timothy C. Skellypage 97

Timothy C. SkellyArt DirectorIncredible Technologies

Art Director

I am Art Director for Incredible Technologies, a firm specializing in interactive entertain-ment — that is, video games. We create video games in many styles and flavors, includinghand-held novelties, multi-player networked simulators, games for the home computer, coin-op (arcade) video games and pinball machines. In our spare moments we’ve created softwaretools, proprietary and commercial hardware and we’ve consulted on interface designprojects. Very few projects have not required graphics. As Art Director, I get involved inevery type of art we do.

I create art. Generally I use computers — digitizers, paintboxes and modeling/renderingsystems as well as proprietary software — I also make art the old-fashioned way. When I wasdesigning our corporate identity, for instance, I ordered and selected type through atypesetting house and did color separations by hand. I rendered our logo in pencil and hadan airbrush artist finish it up. (It looks as though it's computer-generated but at that time Icould actually draw something like that more easily by hand than on a computer.)

Besides generating art I also research new techniques for creating and presenting graphicsand animation. I see that, when art and graphic design are part of our product, they live upto the high standard of quality we have set for ourselves. I design and spec software tools andhave input on hardware design. I advise on purchases of computer graphics software andhardware. I train and advise new artists on our systems. Also, like many others at ourcompany, I write proposals for new products.

In short, like many contemporary art directors, I’m a computer user, a software designer, aconsultant, an educator, a researcher, a manager and quite a few other things as well.

Artists working on video games are sometimes frustrated by the limitations of the tools weuse. For example, we typically have to work with a restricted color palette. (Fortunately,target graphic systems keep improving, allowing artists in our field expanding room to growand show their talent.) Another downside of this work is that interactive media typicallyrequire animations, and in order to animate a subject you have to draw it and redraw it in manydifferent permutations. Artists can learn to loathe the subject of any particular animation afterthey’ve drawn it a few hundred times.

However, there are many compensations. Obviously, the work is creative; artists in this fieldusually have considerable influence over the look and feel of the games they work on. (Theycertainly do at Incredible Technologies.) The work is challenging; not only do we have tokeep learning to use new and better tools, but we're also required to keep refining our artisticskills in a wide variety of styles. The art we use can include realistic background paintings,animation, straight graphic design or the integration of all these elements — virtually anytechnique for creating images you can think of. In addition, designing video games is usually

3.16 Timothy C. Skellypage 98


a collaborative process, often involving both artists and computer programmers. Most artistsenjoy these collaborations. Finally, the work is exciting. We work under intense pressuresometimes, in order to make deadlines. The stakes are high — this is a multi-million dollarindustry, with a lot riding on each game we design. Some people might find that stressful,but most of us who stay in the business enjoy that intensity.

Incidentally, while I have no reason to complain about my own salary, I should mention thatentry level salaries for artists in my field are quite low. (I’m afraid this is characteristic offields where the work is creative and fun.)

My job uses just about every skill imaginable. I need nearly all the art and graphics skills ofany traditional art director plus a high level of comfort with using computers and learning newsystems. I need interpersonal skills to teach, manage, and work in collaboration with others.I even have to be able to write. Perhaps most important, and hardest to pin down, is that I haveto stay in touch with popular culture. Because we serve a mass market — and one that’srelatively young, at that — my abilities as an artist and my imagination must remain abreastof the times and ahead of our competitors.

For those who want to enter this field, traditional art and graphic skills — particularly theability to draw — are most important. Knowledge of specific computer art tools is not reallynecessary at entry level because these tools vary greatly from site to site, and today’s graphicssystems are easy to learn. As a result, someone could be hired to work in my field even if theironly experience was as an artist. The employer would expect to provide graphics systemtraining.

In order to advance in this field, however, an artist will need at least some inherent talent asa game designer. In addition, to communicate well with programmers, an “interactive artist”should have some basic knowledge of how computers work. It is also necessary to speaksome of the jargon of programmers.

I advise newcomers hoping to get into this field to develop their artistic skills and learn howto use the standard computer operating systems. It also wouldn’t hurt to learn someprogramming, preferably assembly language.

My life has almost always included both graphic arts and computers. I’ve been a cartoonistand illustrator for as long as I can remember; I was doing illustrations professionally whileI was still in college. Around 1973, I had a brief career as a fine artist working with video.My interest in computers goes back to the early ‘60’s. Even before the personal computerhad been born, I’d taken courses in digital electronics and assembly language programmingin my spare time.

It was about 1977 when I saw my first personal computer (a Poly-88, if anyone remembers).At about the same time, coin-operated video games were introduced, making computergraphics part of the interactive entertainment industry. (Previously, people had interactedwith pinballs, shooting galleries, and other machines.) I knew that, crude as graphics were,this was a field I wanted to explore.

I spent a year writing games in Basic for the Poly-88 and then sent off resumes to video gamemanufacturers. What I was really hoping for was a job in Atari’s art department. A few weekslater I was astonished to find myself the sole programmer at Cinematronics, the company that

CAREER PROFILES 3.16 Timothy C. Skellypage 99

introduced vector graphics and Space Wars to arcades. At Cinematronics, I designedStarHawk, Sundance, Warrior, Rip-Off, StarCastle, Armor Attack and had a hand in a fewmore games. Three years later, I moved to Chicago, where I free-lanced game designs andprogramming. One of my designs from this period was a game called Reactor. In 1985, FreeRadical Software (which later became Incredible Technologies) was formed by a small groupof people who’d been active in the video game industry for years, where I became ArtDirector.

It looks as though my field is going to keep getting more challenging, and the opportunitiesare going to expand, as graphics systems continue to become more sophisticated. Recently,higher resolution displays have even brought in film, video and still photography as graphicelements. Few fields offer an artist the chance to work with so many forms, styles andtechniques. There doesn’t seem to be any end to what we’re going to be able to do.

SIGGRAPH CAREER HANDBOOK3.17 Stephen N. Spencerpage 100

Stephen N. SpencerAdvanced Computing Center for the Arts and DesignThe Ohio State University

Supercomputer GraphicsResearch Specialist

My title is “Supercomputer Graphics Research Specialist I”. I work at the AdvancedComputing Center for the Arts and Design (ACCAD) at The Ohio State University inColumbus, Ohio.

The work I do falls into several categories. First, I help develop and maintain software usedby graduate students, faculty, and staff at ACCAD. This software includes data generationtools, illumination and rendering tools, and image display programs. My position is fundedthrough an Academic Challenge Grant from The Ohio State University, an interdisciplinaryeffort of the Departments of Art Education, Industrial Design, and Photography and Cinema.The second aspect of my work is developing and maintaining software for, and offeringadvice and consultation to members of the faculty and students in the Industrial DesignDepartment. The last area in which I work is that of research. I am continuing research, whichbegan while a graduate student, into realistic illumination models for computer graphics.

Perhaps the two most positive aspects of my work are the tremendous flexibility and diversityof the projects and people with whom I am involved. I count among my colleagues: artists,animators, interior designers, architects, engineers, and computer scientists. This diversityleads to stimulating conversation, different points-of-view, and an ever-changing environ-ment, something I enjoy very much. The projects I am involved in, while all utilizing someaspect of computer graphics, are varied to the extent that changing projects, whether for a dayor a month, brings a new vitality to the work at hand.

My profession lets me “wear the hats” of designer and researcher.

The projects in which I work require an in-depth knowledge of both two- and three-dimensional graphics techniques, including transformation, perspective, graphical datastructures, illumination model calculation, and rendering methods. Documentation of thesoftware I have written and maintain requires a good working knowledge of the Englishlanguage and of technical writing skills. A computer program, whether simple or complex,cannot be used to its potential if the user cannot understand HOW to use it.

My involvement with personnel, both here at ACCAD and the Industrial Design Department,require that I have good communication skills (both speaking and listening) and the abilityto understand others’ problems and apply my knowledge of computer graphics to help in theirsolution.

CAREER PROFILES 3.17 Stephen N. Spencerpage 101

Were I to recommend skills useful to one in my position, I’d certainly include moremathematics than one thinks one would need, indepth study of computer algorithms and datastructures, and a good bit of technical writing.

My introduction to computer graphics was, as far as I can remember, watching the Disneyproduction “TRON". I became involved in computers as an undergraduate at the Universityof Florida, and taught myself FORTRAN in order to understand the graphics programmingexamples in a computer graphics book I bought. My early involvement, in short, was self-education.

I applied to The Ohio State University for graduate study in Computer Science because Iknew of their involvement in computer graphics. It wasn’t until I arrived and started takingclasses that I heard of the Computer Graphics Research Group, the predecessor of ACCAD,and of its leader, Dr. Charles Csuri. Eventually, I received a Graduate Research Assistantshipthrough CGRG, where I worked on illumination model research, with a small group of peopleto develop an easily extendable and efficient ray tracer.

Attending ACM SIGGRAPH '86 in Dallas opened my eyes: an entire week of nonstopcomputer graphics, covering all ends of the spectrum. In 1987, I began working with theradiosity illumination model, and developed an alternative to the “hemicube” method ofform-factor computation as my Master’s thesis project. After I graduated from The OhioState University in 1988, I was hired by ACCAD, where my work with advanced illuminationmodels and data generation fit very well with the computing needs of faculty and students.

I believe the outlook for my profession is very bright. The increasing use of computergraphics, both in education and entertainment, means that opportunities for research andprogram development in this area are limitless. In addition, as computers become,simultaneously, more complex and more affordable, research into computer graphicstechniques will grow, providing more career opportunities.

Advice: take more mathematics courses than you think you’ll need; you’ll find uses for allof it. Identify the various research publications containing computer graphics related articlesand stay well read.

3.18 James J. Thomaspage 102


James J. ThomasLead Scientist, Computation Science DepartmentBattelle Pacific Northwest Laboratories

Lead Scientist

A Lead Scientist position within an applied research organization is responsible forstimulating, guiding, and developing new technology that directly results in implementingsystems. I would offer that this research environment is between a position in industry, wherethere is a product that is developed, refined and supported, and a university environment,where published papers are the primary product. A lead scientist must be knowledgeable inmost areas of computer science ranging from real time systems, artificial intelligence, database, networking, system integration, user interface, and, of course, graphics and visualiza-tion. I have used graphics, user interface, and compiler technology in most of the projectsthat I have been involved with over a 20 year career.

InterdisciplinaryScience

At Battelle, most of the projects are interdisciplinary. This requires that I and others withinthe Computational Sciences Department, must be willing to learn other disciplines toeffectively apply advanced computer technology. For the first several years, I thought I couldjust listen and design systems based on little knowledge of the other discipline. Then I hadan experience that involved a five year project in the discipline of genetic engineering. Thisproject required that I learn genetic engineering to the point where I could perform simplecloning experiments. From this knowledge, I gained the insight to work and design a systemthat has received several international science awards. Other projects have required me tolearn statistics, geology, acoustics and non destructive testing, fluid dynamics, energyscience, as well as radar and magnetometer technology.

Science Wasn'tWhat I Expected

Science is not just conducted in a lab or working on a terminal to develop a program or system.Science involves developing concepts, writing those concepts, selling them to management,selling them to clients, and if your lucky, staffing and managing the project to develop aconcept or system. Then you must give presentations to management, sponsors, and attechnical meetings and conferences. This was a lot different from my high school and collegeviews of a career in science. The watchword of science is communication. When I givepresentations to students, I recommend that they take a debate class. At least once a day I amdebating a technical, management, or project issue. My weakest skill, writing, has also hadan affect on my career.

CAREER PROFILES 3.18 James J. Thomaspage 103

Helping Staff Grow

A senior scientist role is not just to develop science. An unexpected pleasure in my career hasbeen helping others develop their careers. By guiding them through tough situations withtechnical challenges, encouraging them to take appropriate classes, getting involved withprofessional organizations, helping them work in team situations and writing letters ofrecommendation, you become part of the staff development process. Many times giving thebest guidance in a technical career is more difficult than working on a scientific development.Yet, there are few technical pleasures greater than coaching a junior scientist through newopportunities.

ACM SIGGRAPH,A Part of Career Growth

An important part of my career is SIGGRAPH. I got involved by presenting a paper in 1975.At that conference I attended an Executive Committee meeting where they were attemptingto guess the memberships’ background and interests. I volunteered to conduct a membershipsurvey. From that point on, one activity lead to another. I presented more papers,becameTechnical Program Chair for SIGGRAPH 80, co-initiated the GIIT workshops ongraphical interaction techniques now call the User Interface Software and TechnologySymposium, taught several courses at SIGGRAPH, and became a course area organizer.

Then came the big assignment: Co-Chair of SIGGRAPH ’87. Don’t ever accept such acommitment unless you are willing to change your life! It was a great growing experience forme. Managing a $5,000,000 activity with absolute deadlines will always improve manage-ment skills. It also clearly pointed out the importance of team playing. You learn to delegateand rely on others. The committee members for SIGGRAPH ’87 will always have a specialplace in my life.

I certainly didn’t have an ambition to become the Chair of SIGGRAPH until just a few yearsago while co-chairing SIGGRAPH 87. I was fortunate to be nominated for Vice Chair ofConferences and then elected as Chair. As I look back over the “SIGGRAPH years”, thepeople with the enormous amounts of energy is what stimulated to me to contribute to thislively volunteer organization. I obviously hope others will find the same professionalstimulation within SIGGRAPH.

To Volunteeror Get Paid

Did SIGGRAPH help or hinder my paid employment?? I feel SIGGRAPH definitely helpedmy career at Battelle. Not as directly as one might hope, but in being active with others inthe community, I knew what was going on, what technology was being developed, and whoto call when I looked for technical collaborators. I didn’t have to redevelop technology andwas able to learn from the experiences of others, and influence the direction of my owntechnical interests. I am not sure what Battelle management would say about the samequestion, but I have been fortunate in becoming one of the first Lead Scientists within thedepartment now employing about 150 people.

3.18 James J. Thomaspage 104


The Importance ofTeam Work

Another key lesson that I have learned is that I am rarely the sole developer of a concept ofidea. Almost all good ideas have been expressed at one time or another. It is the team ofmotivated staff that transforms the idea into reality who are the true entrepreneurs. Usuallygood ideas come from project team discussions, planning sessions, casual conversations, oreven during social settings with many of my SIGGRAPH colleagues. Also, I belong toseveral other SIGs and professional organizations. This is required for me to keep abreastof technical advances.

Prior to joining Battelle, I was employed by the General Motors Research Laboratories.Thanks to sound guidance from the senior staff at GM, I was able to establish a goodfoundation for a career. I focused in graduate school in programming languages. With thatbackground, I started within the compiler team. I then had the opportunity to join the graphicsgroup, where I could finally focus on graphics, which had been my area of interest ever sincemy first programming course.

Throughout my career in computer graphics and interaction techniques, I have always beeninterested in the human computer interface. SIGGRAPH was the location for technicalstimuli. Battelle provided the situation where I could develop real systems for people withinteractive information situations.

3.19 Kathy Wolfingerpage 105

CAREER PROFILES

Kathy WolfingerTechnical WriterArchsoft Group

TechnicalWriting

Technical writing is the oxymoron of professions. In it, two disparate circles of thought arebrought together. Think of your average technical person: nuts, bolts, hardware, pocketprotector. Now, think of your average writer: nature, tie dyed clothes, “the experience,”granola. These are stereotypes, of course. Yet they illustrate the seeming impossibility ofthis profession. This oxymoronic environment fosters challenge, variety, and, sometimes,frustration for those who choose to work in it.

I have a bachelor’s degree in English Education and a Computer Science minor from TheOhio State University in Columbus, Ohio. My search for a teaching position was fruitless.In the fall, teenagers and tykes began the school year. I moved to other orchards. Insecureas a computer programmer, I looked for something a little less “technical.”

I was hired at American Telegraph and Telephone (AT&T) as a technical writer for computerhardware. AT&T’s national training center is in Dublin, Ohio. I was to revise a classroomtextbook based on new developments in their latest data switching monster. I enjoyed thework. Communicating with the engineers, teachers, and students then synthesizing in writingwas very satisfying. However, bureaucracy dampened even the largest accomplishments,and I began looking for another job.

During my search, I often reflected on my years as a scoreboard staff member of Ohio State.The staff is responsible for programming, organizing, and operating two video resolutiondisplay matrices capable of bit mapped graphics: one in Ohio Stadium, one in St. John Arena.The scoreboards cost in excess of three million dollars. The staff produces animations thatare shown at athletic events. These animations are created by digitizing art work or bymanipulating images through software. Editing is then possible through a paint programinterface. Although unable to draw anything of significance with my own two hands, Iparticipated in the animation process to other degrees. The scoreboard introduced me tocomputer graphics. Its growing capabilities and popularity with the spectators has held myinterest every since.

In the midst of my job quest, I came upon a small software company in Westerville, Ohio.Archsoft Group (ASG) produces third party graphics software for AutoCAD. Their productsfocus mainly on the Architectural, Engineering, and Construction (AEC) professions.AutoCAD is an all purpose drawing system. I call it plain vanilla. ASG tailors AutoCADby making it easier to draw specific entities. These entities are grouped by profession. Forexample, ASG’s Architectural package allows you to draw walls, doors, windows, stairs, andso on, simply by specifying dimensions. In other words, by adding marshmallow cream,

SIGGRAPH CAREER HANDBOOK3.19 Kathy Wolfingerpage 106

chocolate sauce, and nuts, you can make the plain vanilla into something a little tastier.Experts have estimated the marketplace for this type of software to be in the vicinity of250,000 users. The idea of working with Computer Aided Design and Drafting (CADD)fascinated me. I began with ASG in March of 1989, and I am still with them today.

My primary responsibility is the writing and producing of user manuals. I use the softwareintensively to organize and write manuals. I produce pictures to accompany the text usingAutoCAD and ASG software. Desk top publishing allows me to integrate text andillustrations. Because ASG is a small company my other duties are numerous and varied.They include: technical support, ASG newsletter, magazine articles, proofreading andediting, video scripts, tutorials, manual supplements, on-line documentation, and the docu-mentation standards committee.

The most difficult part of my work is writing. A painting is created by its artist with thepurpose of being seen, not written about on paper. Writing about graphics, about drawing,sometimes seems impossible. ASG’s newest product, 3D Piping™ allows users to lay outentire piping diagrams in three dimensions. Conveying the ease of 3D to engineers who areused to drawing on paper (a two dimensional medium) is no easy task. I mull over functionsfor days, attempting to find the right analogy. My technical-side is constantly at war with myteacher-side. The teacher writes on and on until she is sure you have finally “got it"; then, thetechnical commando marches along beside paragraphs, jabbing out sentences that do not statethe facts. Sometimes, in the end, all of the writing and pictures still fail to convey the wholeconcept.

Deadlines are probably the technical writer’s most feared foe. Because the reproduction cycleis much longer for the manual than for the software, the documentation must be finishedbefore the software. Unfortunately, one small last minute change in the software can forceyou to rewrite numerous sections, recapture picture sequences, or regenerate the entire index.One change can wreak havoc on a manual. In the end, it is never perfect; the manual nevercompletely matches the software. Even though this is an inevitability, it grates on the soul.

I approach a job’s inherent difficulties as challenges. Even if I am unable to conquer them,a positive strategy makes them a less prevalent part of my day. The victories of technicalwriting provide me with ample reward for the gumption.

I love my job because it provides so much variety. I can write all day. I can draw all day. Iknow the software inside and out. I report bugs, suggest changes, and give technical support.I am confident in my writing ability. I can explain the most difficult functions, developdocumentation standards, edit other’s work. I can produce a manual from start to finish. Ihave the final “say” on everything that concerns the manual I am managing. Seeing monthsof work printed, indexed, tabbed, bound, routed to hundreds of users is a great feeling.

My college degree is in education, and everyday I fulfill that need to teach and learn. In anyone day, I may help a couple of software dealers or end users on the telephone, teach acolleague about a new command, research a component that has been added to a menu, orwrite several paragraphs that are bound to teach someone, somewhere, something.

3.19 Kathy Wolfingerpage 107

CAREER PROFILES

A technical writer needs the following qualities: inquisitiveness, drive, persistence, strongwriting skills, and concise writing style. Only a few colleges offer a technical writing major.As a result, most technical writers are self taught. You will need to implement the abovequalities to accomplish the necessities of any technical writing project. You must be able totalk and get answers. Technical people are often “toughies,’ seemingly unsociable yetactually very human and sensitive. Your relationship with them is critical if the documen-tation is to accomplish its objective.

Refine your writing skills through practice. Companies hiring a technical writer will ask tosee samples. If you can show them a couple of pieces that are clear, well written, and clean,you greatly increase your changes of getting the job. They will then expect you to learn thetechnical subject they deal with.

If you have ever read a technical manual, you know that the technical writing profession wascreated out of necessity. Good writers are needed to translate technical data into lay terms.It is one of the fastest growing professions in the United States. I would advise anyoneentering technical writing to first start with a company and acquire skills and techniques.When you are confident in your abilities, the options are unlimited.

Technical fields cover a broad range of interests. Last night I put together a shelving unit formy bathroom whose directions could have used a good technical writer, not to mention a spellchecker. I recently sat next to a man a plane that needed a writer for a sports equipmentinventory package. He was disappointed in the writing skills of the applicants he hadinterviewed. He may still be looking!

Many technical writers go on to free lance. Smaller companies cannot always afford to hirea full time writer. Therefore, they hire on a contract basis. Free lance writers have the benefitsof homemade hours, salary, and job selectivity.

I entered a computer graphics profession by accident while searching for a job that wouldprovide me with both technical and creative outlets. If this is your ambition, technical writingprovides an abundant supply of stimuli for both sides of your brain. If you do enter technicalwriting, you will feel the need to participate in our goal (maybe it is just my goal): We willone day put an end to the cliche, if all else fails, read the directions.

3.20 Thomas Wrightpage 108


Thomas WrightComputer Associates

Graphics SystemsSoftware Professional

I currently manage the graphics software development for Computer Associates, the largestindependent software vendor in the world. I came to this position through a technical path inthe scientific part of computer graphics, a discipline referred to as “data representationgraphics.”

At the University of Colorado (CU) in the sixties there were almost no computer scienceclasses for undergraduates. In fact, I was majoring in Applied Mathematics, and had receivedno exposure to computers in high school. CU was not atypical in considering ComputerScience to be a field for graduate students with a mathematics background. Fortunately, dueto the newly initiated “advanced placement” concept, I was able to start on sophomorecalculus right out of high school at summer school. Thus by the middle of my freshman yearI had the prerequisites for the beginning graduate level computer science courses. Havingfallen in love with computing while taking the first of the two undergraduate computingclasses available, I launched into the graduate computer science classes with a vengeance,eventually taking essentially all that were available by the time I graduated.

During college I spent my summers working at the computing center of the university in myhome town doing applications programming for professors. During my senior year at CU, Iwas able to get a part time programming job at the National Center for Atmospheric Research(NCAR). It cut seriously into my pool playing, but a part time job gave me an importantadvantage for getting started in the professional world. It meant I was able to get a permanentposition there with comparative ease while many of my classmates had difficulty findingopportunities they wanted to pursue. As a conscientious objector, I was able to work at NCARpart time while doing my alternative service at a school for retarded children, ultimatelystaying at NCAR for over nine years.

NCAR at this time was a hotbed of advanced scientific computing with leading edgetechnology in data representation graphics. This area of graphics is devoted to the portrayalof large amounts of numeric information which is already on the computer. It differs fromCAD/CAM (Computer Assisted Design/Computer Assisted Manufacturing), which isprincipally concerned with the generation of numeric information and digital designs.Although we produced animations, they were for scientific study and were not concernedwith realism. Business graphics is technologically a subset of data representation graphics,although the amount of data in business graphics is generally much smaller than in thescientific world. Early on, I worked for David Robertson, a pioneer in data representationgraphics. Under his leadership, we created a system that in the early Seventies was being usedby the 90 or so scientists at NCAR to produce about 10,000 contour maps, 10,000 x-y plots,and 10,000 other scientific graphs per day on mainframe computers. We were very proud ofthe fact that the scientists produced more graphs than printed pages of output.

CAREER PROFILES 3.20 Thomas Wrightpage 109

Much of my initial work was in areas some might consider graphics applications, such asalgorithms for portraying velocity fields. I published several papers on hidden line removalfor scientific data using mesh diagrams for two and three dimensional arrays of data.

When Dave moved on into network programming, I took over the graphics project and beganworking on the new concepts of device independent, portable graphics systems. Through theinfluence of Jim George, I submitted papers on these topics to the earliest SIGGRAPHconferences, homey gatherings of the first few hundred computer graphics professionals.Together with associates at Los Alamos Scientific Labs, we did a good deal of early workon metafiles, writing graphics to a file which is later translated for the specific graphicsdevice on which it will be drawn. As near as I can determine, Dave and I coined the term.

In 1979 after porting the NCAR graphics to the first Cray supercomputer ever sold, I movedon to ISSCO in San Diego. ISSCO, a presentation graphics company, developed some verypopular packages, including DISSPLA, a collection of subroutines written in FORTRAN.It was challenging to jump into the 8.2 release of DISSPLA in a little company of 27 people.Everyone was talking about QQ-this doing such-and-such and QQ-that doing so-and-so,referring to the naming convention for routines internal to DISSPLA. Fortunately thearchitecture was enough like the NCAR package that I was able to pick it up quickly. Thecommercial orientation of the company was new and refreshing to me, coming from abackground of government sponsored research. We put a great deal of effort into differenttypes of user interfaces, ultimately creating systems with natural language commands,prompting, and screen interfaces to front end the original programmers interface. I still feelthe last is perhaps the most important, because it is through production, through the creationof large numbers of graphs, that computer graphics achieves its potential of reducingunmanageable quantities of data to an understandable form.

As ISSCO grew I was fortunate enough to gain experience in a variety of areas: systemdesigner, project manager, functional manager of a group, second level management(directing Development), and an interesting stint as a Business Unit Manager responsible forMarketing, Development, and Support for a product line.

The takeover of ISSCO by Computer Associates was a good learning experience as well. Thenew management helped us gain a new perspective on our products and begin to seriouslylook at the problems of integrating computer graphics into the larger fabric of computing.It is through this integration that computer graphics will gain its next surge of growth.

I have learned that regardless of the position, it is vital to really understand the underlyingtechnology. I still regularly participate in product specification, design, and coding. To me,the rest is boiler plate.

SECTION 4


USING THE DIRECTORY 112

COMPUTER GRAPHICS CONCEPTSAND SYSTEMS 114

COMPUTER GRAPHICS INENGINEERING, CAD/CAM ANDDRAFTING 152

COMPUTER GRAPHICS IN THE ARTS,ARCHITECTURE, AND DESIGN 161

COMPUTER GRAPHICS INGEOGRAPHY AND GEOLOGY 181

OTHER COMPUTERGRAPHICS APPLICATIONS 185

COMPUTER GRAPHICSBIBLIOGRAPHY 186


Colleges and UniversitiesOffering Computer Graphics

This is the ACM SIGGRAPH’s third directory of college and Universities offering computergraphics courses. It was compiled from responses to a Spring 1989 questionnaire. If you area student entering college or considering a change of studies, a professional consideringbroadening your skills, or an educator seeking contacts among your peers, this directory isdesigned for you.

The directory is divided into sections by major computer graphics application areas. Allcourses which may pertain to your area of interest may not be listed in one application area,as computer graphics courses are multidisciplinary by nature. For example, if you areinterested in graphics for architects, you should consult the Arts, Architecture and Designlisting. However, you might also find useful information listed under Engineering, CAD/CAM and Drafting. Should you find one or more institutions offering courses which interestyou, contact the school directly for schedules, cost and admission information.

These directory listings are based on information submitted by various institutions inresponse to our questionnaire. Listing of any specific institution or course does not implyACM or SIGGRAPH endorsement.

Using the Directory

Each directory is ordered alphabetically, first by state and then by the institution's namewithin each state. Entries from Canada and abroad follow the US entries, using the sameformat. Each institution’s listing provides an address and contact line, with one or morecourse or Project entries, organized as follows:

School, Department, AddressContact Person, Phone Network Address

Course Name, Level, Prerequisites, Frequency, System Support Textbook(s).

Example:

Arizona State University, Computer Science, Tempe, AZ 85287Greg Nielson, 602-965-2785 [email protected]

Intro to Computer Graphics U PM T IBM PC’s Hearn & Baker


In the course listings, some of the items are abbreviated by single or multiple letters, whichare used as keys. Multiple letters are used where more than one choice applies per category.

Level Prerequisite

L : Lower division N: NoneU: Upper division P: ProgrammingG: Graduate G: previous Graphics courseP: Professional M : Mathematics course(Projects: undergraduate) A: Advanced computer course

Frequency

T: each school TermA: AnnualD: DemandB: Biennial

The system support for a course or Project refers to the computers, peripherals and softwareused. Some model numbers have been omitted and families of devices may be referred to byproduct name. The entry “same” means that a course uses the same system or text as thelisting immediate preceding it.

If the questionnaire respondent cited a text, the author of the text is listed with the applicablecourse. A complete listing of all the texts is provided in a bibliography immediatelyfollowing this directory. If a text was not cited, or none is used, no text is shown. If aninstructor developed the course materials, “course notes” is shown. If papers from journalswere referenced, these are listed as “readings”. It should be noted that if a specific text couldnot be located in Books in Print, it was not included in the bibliography.

Finally, some institutions offer independent study Projects, which are listed as “Projects”.These Projects may vary from simple drawing experiments to the creation of complexartificial images.


Computer Graphics Concepts and Systems

ALABAMA

Jacksonville State University, Mathematics, Computing, and Information Sciences, Jacksonville, AL 36265.Martha McCormick, 205-231-5269

Computer Graphics U AM A IBM PCs, Turbo PASCAL

Tuskegee University, Computer Science, Tuskegee, AL 36088.Dr. Chen, 205-727-8593

not specified U PM A PC XTs, VAX 11/70, softwareFoley & Van Dam

ARIZONA

Arizona State University, Computer Science, Tempe, AZ 85287Greg Nielson, 602-965-2785 [email protected]

Intro to Computer Graphics U PM T IBM PC’sHearn & Baker

Advanced Computer Graphics G PMG A Raster Tech, IrisAdams

Geometric Modeling G PM A samereadings

Projects UG same

University of Arizona, Computer Science, Tuscon, AZ 85721Scott Hudson, 602-621-6613 [email protected]

Computer Graphics G PAM A Suns, Raster TechFoley & Van Dam

Projects G same

ARKANSAS

Arkansas Technical University, Computer Science, Russelville, AR 72801James R. Abele, 501-968-0670

Computer Graphics U PM B IBM PCs, plotters, AutoCAD, PC paintHearn & Baker

Projects U same

Concepts and Systems


CALIFORNIA

California State Polytechnic University, Computer Science, Pomona, CA 91768Chung Lee, 714-869-3449 [email protected]

Advanced Computer Graphics U G A VAX 8530, IBM-XT,AT, PS2, Cyber

Foley & Van DamProjects UG same

California State University - Dominguez Hills, Computer Science, Carson, CA 90747Frank A. Chimenti, 213-516-3398

Computer Graphics I U AM T IBM PS/2s, Apollo 4000sBerger

Computer Graphics II U GM T sameHarrington

Projects U same

California State University - Fresno, Computer Science, Fresno, CA 93740Brent Auernheimer, 209-294-4373 [email protected]

Computer Graphics U PM D Sun3, NeXT workstationsProjects U

California State University - Long Beach, Computer Science and Engineering, Long Beach, CA 90840Michael K. Mahoney, 213-985-1550 [email protected]

Computer Graphics U PM T IBM AT/EGA, Amiga2000, GKSTurbo C&PASCAL

Hearn & Baker, Salmon & SlaterAdvanced Computer Graphics G PAGM A Apollo 3500, NeXT, PHIGS

Rogers, Pokorny & GeraldProjects UG same, Mac II

California State University - Northridge, Computer Science, Northridge, CA 91330David Salomon, 818-717-5051 [email protected]

Computer Graphics U P A

California State University - Stanislaus, Computer Science, Turlock, CA 95380Steve Cunningham, 209-667-3176 [email protected]

Computer Graphics I U A A Tek6130/4105, Sun3/60, Bell & HowellHearn & Baker

Computer Graphics II U P B



Diablo Valley College, Computer Science, Pleasant Hill, CA 94523David Y. Wen, 415-685-1230

Intro to Computer Graphics L PM T IBM, 4381, IBM PS/2, AmigaAdams

Foothill College, CIS, 12345 El Monte Rd, Los Altos Hills, CA 94022Michael Loceff, 415-960-4384

Intro to Computer Graphics Programming L P T Tandem, AED frame buffer, Iris 2400

Rogers3-D Computer Graphics and Solid Modeling U PGM A Tandem, AED frame buffer, Iris 3000

Rogers, HallTopics in Computer Graphics Algorithms U PGM A Silicon Graphics 4D & 3000 series

Barsky et al, Enderle et alIntroduction to Image Processing G AGM A Silicon Graphics 4D series, Amiga 2000/

digiviewBracewell, Castleman

Intro to Iris 4D and 3000 Series Workstations U Silicon Graphics 4D and 3000 series

user’s manuals

Modesto Junior College, Art Department, 435 College Ave, Modesto CA 95350Terry Hartman, 209-575-6076; Kathy Short, 209-575-6141

Micro-computer Graphics L N T Amigas, Macs, IBMs, wide variety of I/Odevices and software packages

Naval Postgraduate School, Computer Science, Monterey, CA 93943M. J. Zyda, 408-646-2305 [email protected]

Computer Graphics G PM B VAX 11/785, IRIS 4D/70GT, ISIHearn & Baker

Interactive Computation Systems G PAG A Macintosh, PC’scourse notes, manuals

Advanced Topics in Computer Graphics G G B VAX 11/785, Iris, ISI

Joy, Thalmann, readingsProjects G same

San Francisco State University, Computer Science, 1600 Holloway Ave, San Francisco, CA 94132Lawrence S. Kroll, 415-338-2539

Computer Graphics System Design U AM T HP-1000

Foley & Van Dam



San Jose State University, Mathematics/Computer Science, San Jose, CA 95192Max Agoston, 408-277-2411

Geometry for Computer Graphics L PM T PC ATs (EGA)Foley & Van Dam

Computer Graphics Algorithms L G A sameRogers

Advanced Topics in Computer Graphics G GM A same

Mortenson

Sonoma State University, Computer & Information Science, Rohnert Park, CA 94928Richard Gordon, 707-664-2667

Computer Graphics U PM A Mac IIs, Calcomp 1042, film recorderAG7500, video recorder, MiniVas

Pokorny & GeraldAdvanced Computer Graphics U PGM D same

same

University of California - Berkeley, Berkeley Comp Graphics Lab, Berkeley, CA 94720Brian A. Barsky, 415-642-9838 [email protected]

CS 184 U PAM T VAX, Sun, TektronixHearn & Baker

CS 284 G PAM A samesame, Bartels/Beatty/Barsky

CS 285 G PAM A samesame

CS 291A G PAM D samesame

Projects G same, PS300, Adage, IBM, Lyon Lamb,Bosch, Sony, RCA

UCLA, Mathematics, Los Angeles, CA 90024Kirby A. Baker, 213-825-1947 [email protected]

Mathematics of ComputerGraphics U PM A Sun 3/50s

Pokorny & GeraldHonors Project Seminar U PM A same

same

University of California - San Diego, Mathematics, La Jolla, CA 92093Donald W. Anderson [email protected]

Geometry of Computer Graphics U MP A PC ATs (EGA), Laserwriter

Farin



University of California - Santa Barbara, Computer Science, Santa Barbara, CA 93106Y. T. Wang, 805-961-3866 [email protected]

Computer Graphics U PM A 24 Sun 3/50, 6 Sun 3/110

University of California - Santa Cruz, Computer and Information Science, Santa Cruz, CA 95064J. Wilhelms, 408-429-2565 [email protected]

Intro to Computer Graphics U PAM T 386 PCs(Immagraph)Computer Graphics G PAG A same, SGI IrisesComputer Animation G PAG A sameImage Processing and Display G PAM A sameProjects UG same

COLORADO

US Air Force Academy, Computer Science, Colorado Springs, CO 80840Dino Schweitzer, 719-472-3590

Computer Graphics U P A Zenith (Vista), RamtekHearn & Baker

University of Colorado - Colorado Springs, Computer Science, Colorado Springs, CO 80933S. K. Semnal, 719-593-3545

Intro to Computer Graphics AM A HP9000/310s & 330sFoley & Van Dam

Advanced Computer Graphics AM A samesame

Western State College, Computer Science, Gunnison, CO 81231Donald Maguire, 303-943-2059

Computer Graphics U PM A VAX 8350, Tektronix, IBM-PC, plotterHarrington

Projects U same

CONNECTICUT

Connecticut College, Mathematics Department, New London, CT 06320Perry Suskind, 203-447-1911

Intro to Computer Graphics M T IBM PS2s, Drafix

Fairfield University, Mathematics & Computer Science, Fairfield, CT 06432Joan Wyzkoski, 203-254-4000, x2512 [email protected]

Computer Graphics U PM D IBM XT, HP plotterHarrington



Trinity College, Engineering & Computer Science, Hartford, CT 06106August E. Sapega, 263-297-2223

Special Topics U AM A GKS, Sun

DISTRICT OF COLUMBIA

The George Washington University, Electrical Engineering and Computer Science, Washington, DC 20052James D. Foley, 202-994-6083 [email protected]

Interactive Computer Graphics I UG PM T Macs, PS/2(80s), Suns, HP360 SRXsFoley, Van Dam, Feiner, Hughes

Interactive Computer Graphics II UG PGM A same plus HP385 turbo SRXsame plus readings

Interactive Computer Graphics III G AGM A samesame plus readings

University of DC, Computer Science, Washington, DC 20008Edgar F. Bertaut, 202-282-7345 EBERTAUT@UDCVAX

Computer Graphics U A A VAX 8650, VAX 11/780, Tek 4105, HDSNewman & Sproull

Projects U same plus C-64

FLORIDA

Florida Institute of Technology, Computer Sciences, Melbourne, FL 32901William D. Shoaff, 407-768-8000, x8066 [email protected]

Interactive ComputerGraphics I / II U PM T Suns, CORE, PHIGS

Foley & Van Dam

University of S. Florida, Computer Science & Engineering, Tampa, FL 33620A. Tokuta, 813-974-4196 [email protected]

Intro to Computer Graphics UG P A Suns, PHIGS, VAX 8350, PCsFoley & Van Dam

Raster Graphics G P A samesame plus readings

Computer Vision G MA A same plus Ardent TitanBallard & Brown



GEORGIA

Augusta College, Department of Mathematics & Computer Science, Augusta, GA 30910Shirley A. Hermitage, 404-737-1672

Computer Graphics U A B PCs (IBM & Zenith), VAXHearn & Baker

Georgia State University, Mathematics & Computer Science, Atlanta, GA 30303G. Scott Owen, 404-651-2245 [email protected]

Computer Graphics Algorithms U PM A PS/2sHearn & Baker

Advanced Computer Graphics Algorithms G G A PS/2s, Sun 386i

Rogers, IEEE tutorial,SIGGRAPH notes

Mercer University, Computer Science, 1400 Coleman Ave, Macon, GA 31207David L. Cozart, 912-744-4087

Computer Graphics I U P B Graphicus 80, Raster Tech, CORE, GKSFoley & Van Dam

Computer Graphics II U G B samesame

Spelman College, Mathematics & Computer Science, Atlanta, GA 30314Medhi Sayfi, 404-681-3643, x559

Computer Graphics U AM A IBM PCs (EGA), VAX 11/780 (GKS)Hearn & Baker

IDAHO

Boise State University, Mathematics, Boise, ID 83725Daniel G. Lamet, 208-385-3380

Intro to Computer Graphics U PM A MS DOS computersHarrington

ILLINOIS

Bradley University, Department of Computer Science, Peoria, IL 61625James C. Miller, 309-677-2457

Intro to Computer Graphics U AM T IBM PC clones, UNIX PCs, Ramtek 6310Harrington, Pokorny & Gerald



DePaul University, Department of Computer Science, Chicago, IL 60604Rosalee Nerheim, 312-341-6248 [email protected]

Computer Graphics U AM A Harris HcX9 (UNIX,C),IBM PCs (EGA, VGA, Targa),HP laser printer, Matrix film recorder

Rogers, Pokorny3D Graphics U AGM A same

same

Illinois College, Computer Science and Information Systems, Jacksonville, IL 62650Dawn Wilkins, 217-245-3415

Intro to Computer Graphics U PM A GIGI, IBM PC (VGA), Prime 2755, plotterNewman & Sproull

Illinois State University, Applied Computer Science, Normal, IL 61761Dean Sanders, 309-438-8338 [email protected]

Intro to Computer Graphics U PM A Sun 3/60, PC’s(EGA),Kurta tablet, HP plotter

Hearn & BakerAdvanced Computer Graphics G PGM D same

Northwestern University, Electrical Engineering & Computer Science, Evanston, IL 60208Mehmet Yanilmaz, 312-491-7132 [email protected]

Intro to Computer Graphics U AM B Amiga 2000s, Mac IIs, Iris 2000Hearn & Baker

Computer Graphics G GM A Iris 2000s, Sun 160 (Encore)Rogers & Adams

Southern Illinois University - Carbondale, Computer Science, Carbondale, IL 62901Michael Wainer, 618-536-2327

CS485 U PM T IBM PCs (Turbo PASCAL & C)Hearn & Baker

Advanced Topics in Computer Graphics G AGM A PS/2s, Sequent Balance 8000, Sun 386s

Rogers, readings

University of Illinois at Chicago, Electronic Visualization Laboratory, Chicago, IL 60680Tom DeFanti, 312-996-3002 [email protected]

Computer Graphics I G PM A AT&T 6300s (Targa), 80386s (Vista),Mac IIs

variesComputer Graphics II G PM A same plus AT&T pixel machines,

HP350SRX & 835, Iris 3130



Computer Animation G PM A same plus video, CRAY access, RT/1,Alias

Computer Vision I & II G PM A sameHuman-Computer Interaction G PM A sameProjects UG all same

University of Illinois, Computer Science, Urbana, IL 61801D. D. Hearn, 217-333-6148 [email protected]

Computer Graphics U AM A IBM RT, GKS, plotterHearn & Baker

Advanced Graphics Topics G AGM D SGI workstationsreadings

Scientific Visualization G AGM D same readingsProjects UG same

INDIANA

Ball State University, Computer Science, Muncie, IN 47306.J. Michael McGrew, 317-285-1609 iuvax!bsu-cs!mcgrew.UUCP

Introduction to Computer Graphics Systems L P A Intergraph CAD, PS/2 (50)s

noneComputer Graphics U PM A VAX, (11/785s, 8650,

VMS & UNIX), Tek 4107Pokorny & Gerald

Projects UG same

Rose-Hulman Institute of Technology, Computer Science, Terre Haute, IN 47803Cary Laxer, 812-877-8429 [email protected]

Computer Graphics U PM B VAX 6320 (Nova*GKS), GIGIterminals, IBM PCs & clones (CGA)

Hearn & Baker

Taylor University, Information Sciences, Upland, IN 46989Timothy C. Diller, 317-998-5163

Computer Graphics U PM B Sun 3/60s, Targa 16s, PCs (80286 &80386)Foley & Van Dam

Projects U same

Tri State University, Mathematics/Computer Science, Angola, IN 46703David L. Syler, 219-665-4244

Computer Graphics AM A Zenith 200s (VGA)Hearn & Baker



Valparaiso University, Mathematics & Computer Science, Valparaiso, IN 46383David H. Johnson, 219-464-5349 [email protected]

Interactive Computer Graphics U PM B Data General MV8000, Tek 4105s,Sun workstations

Foley & Van DamProjects U same plus DG-MV8000, Tek, Zenith

IOWA

Clarke College, Computer Sciences, Dubuque, IA 52001Mary L. Caffery, 319-588-6363

Computer Graphics U P B IBM PS/2s & XTs (CGA), Apple IIes& Macs, color printers, tablet, light pen

Cornell College, Computer Science, Mt. Vernon, IA 52314James Freeman, 319-895-8811

Computer Graphics U PAM B Apollos, CORE, GKS, PHIGS, GMR2D,GMR3D

Hearn & BakerProjects U

Drake University, Department Mathematics/Computer Science, Des Moines, IA 50311Ken Kopecky, 515-271-2118 KK1811R@DRAKE

Computer Graphics U PM B VAX 8600, IGLHarrington

Graceland College, Computer Science, Lamoni, IA 50140Ron Smith, 515-784-5287

Computer Graphics U PM B HP 3000, MacsFoley & Van Dam

University of Iowa, Computer Science, Iowa City, IA 52242Marc P. Armstrong, 319-335-0153 [email protected]

Computer Graphics U PM A Macs, Quickdraw, ImagewriterHearn & Baker



KANSAS

University of Kansas, Computer Science, Lawrence, KS 66045Victor L. Wallace, 913-864-4481 [email protected]

Intro to Computer Graphics U AM T Mac IIs, MPWRogers & Adams, Rogers

Interactive Graphics G A A Iris 3020, UNIX workstationsFoley & Van Dam, reprints

Geometric Modeling G GM A same plus Iris 4D/60reprints

Advanced Topics in Computer Graphics G GM A same plus VAX 11/780

reprints, SIGGRAPH notesProjects U

KENTUCKY

Western Kentucky University, Computer Science, Bowling Green, KY 42101Kenneth Modesitt, 502-745-4642

Computer Graphics U AM B VAX, PCsHearn & Baker

LOUISIANA

Louisiana State University at Shreveport, Computer Science, Shreveport, LA 71115A. L. McKinney, 318-797-5311

Computer Graphics U PM T IBM & Zenith PCs (EGA & VGA)

Northeast Louisiana University, Computer Science, Monroe, LA 71203S. Karukonda, 318-342-2186 [email protected]

not specified U PM A IBM PCs, VAXstationsBerger

Projects U same

MAINE

University of Maine, Computer Science, Orono, ME 04469Ed Ferguson, 207-581-3930 [email protected]

Interactive Computer Graphics U PM A IBM RTs, plotterFoley & Van Dam

Advanced Computer Graphics U PM A samesame

Projects U same



MARYLAND

Goucher College, Mathematics and Computer Science, Towson, MD 21204Robert Lewand, 301-337-6239

Mathematical Elements of Computer Graphics U PAM B Zenith, Epson

Rogers & Adams

MASSACHUSETTS

Harvard University, Division of Applied Sciences, Cambridge, MA 02138Mark Friedell, 617-495-5841 [email protected]

Computer Graphics G AM A Sun workstations, JupiterProjects UG same

University of Lowell, Computer Science, Lowell, MA 01854Georges Grinstein, 617-452-5000 [email protected]

Computer Graphics I U AM T VAX, workstations: DEC, Sun,Apollo, DG, Stellar, Ardent, Pixar

Foley & Van Dam, RogersComputer Graphics II U AGM A same

same,Graduate Computer Graphics I G AGM T same

sameGraduate Computer Graphics II G AGM T sameTopics in Computer Graphics G AGM A same

RichardsScientific Data Visualization G AGM A same

Richards, Ohta, Nevatia,Schwab & Nusbaum

Computer Vision G AGM A sameHorne

Projects UG same

University of Massachusetts, Electrical and Computer Engineering, Amherst, MA 01003F. S. Hill, Jr., 413-545-0767 [email protected]

Interactive Computer Graphics I U PM A VAX, IBM PCs, Raster Tech, MacsInteractive Computer Graphics IIU G A same

sameProjects UG same



Williams College, Computer Science, Williamstown, MA 01267Donald House, 413-597-3052 [email protected]

Computer Graphics U AM A Sun, NGSFoley & Van Dam,

Projects U same

MICHIGAN

Alma College, Mathematics & Computer Science, Alma, MI 48801Timothy Sipka, 517-463-6730

Intro to Computer Graphics U PM B Tek 4012, VT-100(Retro-graph), Plot 10plotter

Hearn & Baker, Angell

Hope College, Computer Science, Holland, MI 49423Gordon Stegink, 616-394-7507 [email protected]

Computer Graphics U A B IBM-PC, Suns, GKSBerger

Projects U same

Michigan Technological University, Computer Science, Houghton, MI 49931John L. Lowther, 906-487-2183 [email protected]

Computer Graphics U A T Sun3, Sun4, SunPHIGSHearn & Baker

Projects UG A T same

Northern Michigan University, Computer Science, Marquette, MI 49855Barry Peterson, 906-227-2020

Computer Graphics U PM A mVAX IIs (graphics terminals), 9370,micros (286, 386, 68030)

University of Michigan, EECS Department, Ann Arbor, MI 48109Spencer Thomas, 313-936-2616 [email protected]

Interactive Computer Graphics U A T Apollo network, MacsRaster Graphics U G A same

RogersGeometric Modeling G M A

Mantyla, FarinProjects UG same plus Ardent, Stellar, Iris, software



Wayne State University, Computer Science, Detroit, MI 48202Jia-Guu Leu, 313-577-1667 [email protected]

not specified U PM A IBM PCs, Sun, mVAX II (GKS)Hearn & Baker

MINNESOTA

Bemidji State University, Mathematics & Computer Science, Bemidji, MN 56601James L. Richards, 218-755-2840

Computer Graphics U PM A Apple IIes, Mac II

St. Olaf College, Mathematics/Computer Science, Northfield, MN 55057Arthur Seebach, 507-663-3411 [email protected]

Independent Study U PM D Suns, Amiga, NeXT, VAXFoley & Van Dam

University of Minnesota - Duluth, Computer Science, Duluth, MN 55812Douglas Dunham, 218-726-7510 [email protected]

Computer Graphics I U PAM A Encore Multimax, Tek 4112s, Applelaserwriters

Foley & Van DamProjects U same plus Macs

MISSOURI

Northwest Missouri State University, Computer Science, Maryville, MO 64468Richard C. Detmer, 816-562-1187

Computer Graphics U PM A 80386 workstations (VGA)Hearn & Baker

Southeast Missouri State University, Computer Science, Cape Girardeau, MO 63701Tom Wallgren, 314-651-2208

Algorithms for Computer Graphics U AM B IBM PCs (CGA)

Harrington

Southwest Missouri State University, Computer Science, Springfield, MO 65804Bruno Schmidt, 417-836-4157 [email protected]

Computer Graphics U PM A VAX 11/750, Tek 4027s, GKSSalmon & Slater



University of Missouri - Columbia, Electrical & Computer Engineering, Columbia, MO 65211Kenneth Unklesbay, 314-882-2781

Interactive Computer Graphics G VAX, Apollo, Vicom, PE3220,Lexidata, Tek 4105, digitizer

Foley & Van DamDigital Image Processing UG same

Rosenfeld & KakComputer Vision G same

Ballard & BrownProjects UG same

University of Missouri - Rolla, Computer Science, Rolla, MO 65401F. Garnett Walters, 314-341-4853 [email protected]

Interactive Computer Graphics U AM T IBM PCs, 6152 workstations(RISC coprocessors)

Foley & Van DamComputer Graphics & Realistic Modeling G GM A same

research papers

Washington University, Computer Science, St. Louis, MO 63130J. L. Posdamer, 314-889-6160 !{seismo, ihnp4}!wucs!posdamer.uucp

Computer Graphics UG PAM T VAX, IBM PC, Vectrix, GKSNewman/Sproull

Computational Geometry and Geometric Modeling G AGM B same plus DeAnza

Preparata & Shamos, readingsAdvanced Computer Graphics G G A same plus MOVIE.BYU

Foley & Van DamProjects UG same plus video, film

MONTANA

University of Montana, Computer Science, Missoula, MT 59812Ronald Wilson, 406-243-2883

Computer Graphics U P A MacsAdvanced Computer Graphics G G B DEC, Iris, Apollo workstations



NEVADA

University of Nevada - Las Vegas, Computer Science, Las Vegas, NV 89154E. A. Yfantis, 702-739-3536

Intro to Computer Graphics L PM T 386s (VGA), SGI 4Ds, SunsHearn & Baker

Computer Graphics U PM T samesame

Advanced Computer Graphics G PM T sameRogers

Projects UG same

NEW HAMPSHIRE

Plymouth State College, Computer Science, Plymouth, NH 03264William J. Taffe, 603-536-5000, x2530 [email protected]

Computer Graphics U PM A PC/AT clones (VGA), Turbo PASCAL & C(GKS), Summagraphics tablet

Hearn & BakerProjects U same

NEW JERSEY

St. Peter’s College, Mathematics, Jersey City, NJ 07305Michael Fahy, 201-432-8098 FAHY_M@SPCVXA

Computer Graphics U PM B IBM PC clones (EGA)Projects same

NEW YORK

Canisius College, Computer Science, Buffalo, NY 14208Jeffrey J. McConnell, 716-883-2434 [email protected]

Intro to Computer Graphics U PAM A Sun 3/60sHearn & Baker

Advanced Graphics Concepts U GM D sameFoley & Van Dam

Computational Vision U PM D sameBallard & Brown

Projects U same



Cayuga Community College, Mathematics, Engineering, Design/Drafting, Auburn, NY 13021Donald Fama, 315-255-1743, x273

Intro to Computer Graphics and Animation L N D IBM XTs & ATs

Hearn & Baker

City University of New York, Computer Science, 33 W. 42nd St, New York, NY 10036S. V. Ahamed, 212-642-2000

Computer Graphics, Signal & Image Processing G A B AT&T micros, IBM PC clones

Foley & Van Dam, Ballard & Brown

Projects G

College of Staten Island, Computer Science, Staten Island, New York, NY 10301S. V. Ahamed, 718-390-7627

Computer Graphics U P IBM Graphics labFoley & Van Dam

Computer Graphics & Image Processing G A B same

same

Columbia University, Computer Science, New York, NY 10027Steven Feiner, 212-280-8105 [email protected]

Computer Graphics UG PAM A HP 9000, Sun 4, VAXFoley & Van Dam, Feiner, Hughes

User Interface Design G A D samesame

Projects UG same plus Symbolics, IBM, HP SRX,Matrix QCR

C. W. Post College of Long Island University, Computer Science, Greenvale, NY 11548Anne Burns, 516-299-2448

Computer Graphics L PM A IBM PC & PS/2Hearn & Baker

Special Topics G AM sameHearn & Baker

Projects G same

Hofstra University, Computer Science, Hempstead, NY 11550Dr. Bakalash, 516-560-5542

Computer Graphics G AM A AT&T (Targa), Macs, IBM PCsFoley & Van Dam

Projects G same



Iona College, CIS Department, New Rochelle, NY 10801Edward Duggan, 914-633-2241

Computer Graphics U AM A IBM ATs & PS/2 30sHearn & Baker

Mathematics of Computer Graphics G AM A same

course notesComputer Graphics G AM A same

course notesProjects UG same plus Suns, Macs

Ithaca College, Mathematics/Computer Science, Ithaca, NY 14850Patricia Woodworth, 607-274-3107 [email protected]

Computer Graphics U PM B IBM PCs (EGA)Hearn & Baker

Projects U same

Le Moyne College, Computer Science, Syracuse, NY 13214Thomas S. Frank, 315-445-4162 [email protected]

Computer Graphics U PAM A PS2/50s (VGA)Hearn & Baker, Rankin

Marist College, Computer Science & Mathematics, Poughkeepsie, NY 12601William J. Joel, 914-471-3240, x614/610 [email protected]

Computer Graphics U AM A IBM Ps/2 80sHearn & Baker

Adv Topics in Comp Sci: Computer Animation U PAMG B same

reprintsComputer Graphics I G PM A same

Foley & Van DamComputer Graphics II G G B same

Adv Topics in Computer Science: Fractals U PAM B IBM 3090, VSAPL (GDDM)

MandelbrotAdv Topics in Mathematics: Chaotic Dynamical Systems U PM D IBM PS/2 80s

BarnsleyProjects U all same



Mohawk Valley Community College, Computer Science, Utica, NY 13501Robert Dell, 315-792-5372

Computer Graphics I L AM A VAX 11/750, Tek 4105, 4107, 4111, 4125,GKS, IGL, MOVIE.BYU

Hearn & BakerComputer Graphics II L GM A same

sameProjects same

Niagara University, Computer & Information Sciences, Niagara University, NY 14109R. A. Hubbard II, 716-285-1212, x368

Computer Graphics I L N B PCsMyers

Rensselaer Polytechnic Institute, Engineering Computing Services, Troy, NY 12180Adelaide Lane, 518-276-8041 [email protected]

Fundamentals of Computer Graphics L PM T IBM PCs & clones, 3090,

mVAX 2000s & IIs (GPX)Internal Imaging U PM A IBM PCs & clones, 3081, PIXEL softwareAdvanced Internal Imaging G GM A same plus mVAX 2000s & IIs (GPX)Human and Machine Vision G Sun 3/160s

Rochester Institute of Technology, Computer Science, Rochester, NY 14623Evelyn Rozanski, 716-475-2995 [email protected]

Intro to Computer Graphics U A T Sun3/60s, PHIGS, GKSHarrington

Computer Graphics Laboratory U G B sameHearn & Baker

Topics in Computer Graphics G G A sameFundamentals of Computer Graphics G A A AT&T 3B1 6386

Siena College, Computer Science, Loudonville, NY 12211Edward M. Crosson, 518-783-2495

Computer Graphics U PM A VAXstation 3100s & 3250s, PHIGSHearn & Baker

St. Bonaventure University, Computer Science, St. Bonaventure, NY 14778Dalton R. Hunkins, 716-375-2019

Interactive Computer Graphics U PM A 80286s (VGA), Turbo PASCAL (GKS)Pokorny & Gerald



SUNY New Paltz, Mathematics/Computer Science, New Paltz, NY 12561Richard Halpern, 914-257-3528

not specified G PM A Zenith 286s (FTM or EGA)Rogers

Projects G same

SUNY Potsdam, CIS, Potsdam, NY 13676Charles Durand, 315-267-2216

Computer Graphics U PM A Gould PN6005, 286, 386, 68020 computers,Tek 4107

SUNY Stony Brook, Computer Science, Stony Brook, NY 11794Arie Kaufman, 516-632-8441 [email protected]

Fundamentals of Computer Graphics U PM T Sun, SGI, HP, PHIGS

Foley & Van DamComputer Graphics G PAM A same same3D Graphics U PGM A sameSpecial Topics in Computer Graphics G PAMG A same

readingsImage Analysis G AM A sameComputer Vision U PM A sameSeminar in Computer Graphics G AGM T sameSeminar in Image Analysis G AGM T sameUser Interfaces G A A sameProjects UG same

NORTH CAROLINA

Appalachian State University, Mathematical Sciences, Boone, NC 28608Kenneth H. Jacker, 704-262-2368 ...mcnc!ecsvax!khj

Computer Graphics U PAM B 3B2 (630-MTG) workstationsHarrington

University of N Carolina at Chapel Hill, Computer Science, Chapel Hill, NC 27514Henry Fuchs, 919-962-1911 [email protected]

Computer Graphics G AM A Pixar, PS300, VG, Adage, Pixel PlaneRaster Graphics G AG A samePicture Processing & Pattern Recognition G PM A sameComputer Vision G PGM B sameVirtual Worlds G GM B sameProjects G same



University of North Carolina at Greensboro, Mathematics, Greensboro, NC 27412S. M. Lea, 919-334-5836 [email protected]

Intro to Computer Graphics & Image Processing U AM A VAX, GIGI, Macintosh, PC’s

Hearn & Baker, CastlemanProjects same

University of North Carolina - Wilmington, Mathematics Sciences, Wilmington, NC 28403Harry Smith, 919-395-3819 [email protected]

Computer Graphics U PM A IBM PCs & clones (EGA), EasyCADHearn & Baker

NORTH DAKOTA

North Dakota State University, Computer Science, Fargo, ND 58105Mark Pavicic, 701-237-7493

Computer Graphics U PM A IBM PC clones (CGA & VGA),HP9000/320

Hearn & BakerAdvanced Computer Graphics U GM B same

OHIO

Bowling Green State University, Computer Science, Bowling Green, OH 43403R. Townsend, 419-372-2018

Computer Graphics U P A Mac & Turbo PASCALHearn & Baker

Oberlin College, Computer Science, Oberlin, OH 44074Robert Geitz, 216-775-8083 [email protected]

Computer Graphics U PM B Sun 3/60s (4/260 server with GP2), PHIGSFoley & Van Dam

Projects same

Ohio State University, Computer & Information Science, Columbus, OH 43210Richard Parent, 614-292-0055 [email protected]

Intro to Computer Graphics UG PM T Sun 3/50sBerger

Introduction to 3D Image Generation U G B HP330 frame buffer

Rogers



Advanced 3D Image GenerationU G A HP370sIEEE tutorial

Geometric Modeling U G A all same, Alpha-1Mortenson

Projects same plus Cray, Transputer, Hypercube,Butterfly, Encore

Otterbein College, Mathematical Sciences, Westerville, OH 43081Thomas James, 614-898-1724

Computer Graphics U PM B PCs, course notes softwareFoley & Van Dam

OKLAHOMA

University of Tulsa, Mathematical & Computer Sciences, Tulsa, OK 74104Schoenefeld, 918-631-2228 [email protected]

Computer Graphics U A A Sun 3/60s, IBM PC/XT clones (EGA)Hearn & Baker

Advanced Computer Graphics G G B Suns, mVAX (Adage 3000)Rogers & Earnshaw, readings

OREGON

Clackamas Community College, Computer Science, Oregon City, OR 97045Mike Aronson, 503-657-8400, x215 uucp: tektronix!psu-cs!ccccs!mikea

Intro to Computer Graphics L P B IBM PC clones (Hercules)Harrington

Lewis & Clark College, Computer Science, Portland, OR 97219D. E. Cummins, 503-293-2738

Computer Graphics U A B VAX 750, Macs, GKSHarrington

Oregon Institute of Technology, Computer Engineering, Klamath Falls, OR 97601Donald I. Metzler, 503-882-6321

Computer Graphics U PAM A PC clones, ATs, 386s (EGA, PGA), plotters tablets

HarringtonAdvanced Computer Graphics U PAM A same

same



University of Oregon, Computer & Information Science, Eugene, OR 97403Gary Meyer, 503-686-4408 [email protected]

Computer Graphics U PAM A Sun SPARC stationsHearn & Baker, Foley & Van Dam

Advanced Computer Graphics G PAMG A same plus Tek 4325Rogers

Projects UG Iris 3030

PENNSYLVANIA

Albright College, Computer Science, Reading, PA 15234Daniel Falabella, 215-921-2381

Graphics U P A IBM PCs and clonesHarrington

Bucknell University, Computer Science, Lewisburg, PA 17837Patricia Wenner, 717-524-1266 [email protected]

Computer Graphics U P A Apollo 3000-4500 (GMR2D, GMR3D),Macs, plotters, printers

Hearn & BakerProjects U same plus Sun 3/60, Iris, PHIGS

Drexel University, Mathematics & Computer Science, Philadelphia, PA 19104Jeffrey Popyack, 215-895-1846 [email protected]

Computer Graphics I & II G AM A Prime 2655 (movie.BYU), Megatek,Ramtek, Mac IIs

Foley & Van DamProjects G same

Gettysburg College, Mathematics & Computer Science, Gettysburg, PA 17325L. Carl Leinbach, 717-337-6735 [email protected]

Intro to Interactive Computer Graphics Systems U AM A MS/DOS computers

Foley & Van Dam

Indiana University of Pennsylvania, Computer Science, Indiana, PA 15705John A. Cross JACROSS@IUP, BITNET

Computer Graphics U PM A mVAX (GKS), AT&T 3B2s,386 micros (VGA)

Hearn & BakerModern Computing Environments U PM A sameProjects U same plus Mac IIs



King’s College, Mathematics & Computer Science, Wilkes-Barre, PA 18711Anthony D. Berard, Jr, 717-826-5900, x496

Computer Graphics U PAM A Mindset, Zenith, Targa 16, AutoCAD,PageMaker

Newman & Sproull

Kutztown University, Mathematics/Computer Science, Kutztown, PA 19530Thomas Pirnot, 215-683-4424

Intro to Computer Graphics U AM A Unisys-A9, Tektronix 4112/4115Hearn & Baker

Seminar in Computer Graphics U GM B sameRogers

Computer Graphics I G AM D sameFoley & Van Dam

Computer Graphics II G G D sameIEEE tutorials

La Salle University, Computer Science, Philadelphia, PA 19141Samuel J. Wiley, 215-951-1130

Computer Graphics U PM B HP9000-835SEsBerger

Projects same

Penn State University - Harrisburg, Mathematics & Computer Science, Middletown, PA 17057Clifford H. Wagner, 717-948-6084 [email protected]

Computer Graphics Algorithms U PM A Macintosh, IBM PCcourse notes

Swarthmore College, Engineering, Swarthmore, PA 19081Stephen Platt, 215-328-8081 [email protected]

Computer Graphics U AM B Apollo network & packagesFoley & Van Dam, Rogers

Projects U same

University of Pennsylvania, Computer & Information Science, Philadelphia, PA 19104Norman I. Badler, 215-898-5862 [email protected]

Computer Graphics UG P A Iris 4DsFoley & Van Dam, Rogers

Seminar in Computer Graphics G G A samereadings

Projects UG same plus HP 3xx stations



University of Pittsburgh, Computer Science, Pittsburgh, PA 15260Sig Treu, 412-624-8418 [email protected]

Intro to Computer Graphics U PM T various PCsHearn & Baker

Interactive Computer Graphics G AM A Sun 3sFoley & Van Dam

University of Pittsburgh - Johnstown, Computer Science, Johnstown, PA 15904Hubert D. Callahan, 814-266-9661 [email protected]

Interactive Computer Graphics U AM B AT&T PC 6300/7300, VAX,GKS, Plot 10

Hearn & BakerProjects U same, Macintosh, AT&T DMD 5620,

7300, IBM PCs

SOUTH CAROLINA

University of South Carolina - Lancaster, Computer Science, Lancaster, SC 29720Noni Bolt, 803-285-7471 [email protected]

CSCI 101 & 102 L M T Apple 2es, IBM PS/2s

Winthrop College, Computer Science, Rock Hill, SC 29733Jack E. Bresenham, 803-323-2186 [email protected]

Intro to Computer Graphics U AM A Leading Edge PC clonesHearn & Baker,Foley & Van Dam

TENNESSEE

Middle Tennessee State University, Computer Science, Murfreesboro, TN 37132Judy Hankins, 615-898-2392

Microcomputer Graphics L N T IBM PS/2s, plotters, tablets, scanner,Logitech software

Computer Graphics UG AM A VAXstation 3100s, inkjet, plotterFoley & Van Dam

Advanced Computer Graphics G G B samesame

Projects UG same

Rhodes College, Mathematics & Computer Science, Memphis, TN 38112Bill Boyd, 901-726-3725 [email protected]

Computer Graphics U PM B Mac SEs, Lightspeed PASCALHearn & Baker



University of Tennessee - Chattanooga, Computer Science, Chattanooga, TN 37403Stephanie Smullen, 615-755-4395 [email protected]

Computer Graphics Applicationsand Algorithms U A A IBM, Tek, GKS, tablet

Hearn & Baker, manualsProjects G same

University of Tennessee - Knoxville, Computer Science, Knoxville, TN 37996Hedley Bond, 615-974-5067 [email protected]

Interactive Computer Graphics UG PA A VAX (Tek-GKS), IBM 5080s, SunsHearn & Baker

Projects UG same

TEXAS

Baylor University, Computer Science, Waco, TX 76798Mark Measures, 817-755-3871 [email protected]

Computer Graphics U AM A Mac IIs, AT&T 3B2/700s (GKS)Hearn & Baker

Sam Houston State University, Computer Science, Huntsville, TX 77341

Computer Graphics U AM B VAX \11/785 (VT241), IBM PCs

Southwest Texas State University, Computer Science, San Marcos, TX 78666Wilbon Davis, 512-245-3443 [email protected]

Computer Graphics U PM T VAX 8650s (VT340s), laser printersRogers

Advanced Computer Graphics G AM A sameFoley & Van Dam

UTAH

Brigham Young University, Computer Science, Provo, UT 84602R. P. Burton, 801-378-6467

Computer Graphics U PM T extensive equipmentHearn & Baker

Advanced Computer Graphics U GM A sameProjects UG same



Southern Utah State College, Computer Science, Cedar City, UT 84720Peter P. Smith, 801-586-7903

Computer Graphics U PM A VAX 11/780, Chromatics 7900, Mac IIs,80286 computers

Utah State University, Computer Science, Logan, UT 84322Larre N. Egbert, 801-750-3280 [email protected]

Intro to Computer Graphics UG PM A HP 350 SRX, Mac IIsHearn & Baker, Pokorny & Gerald

Computer Graphics UG PMG A samesame

Advanced Computer Graphics G PMG A samereadings

Projects UG same plus Ardent

Weber State, Computer Science, Ogden, UT 84408David G. Hart, 801-626-7929

Computer Graphics U PM A VAX 8700 (VT340s), DI3000Hearn & Baker

VIRGINIA

College of William & Mary, Computer Science, Williamsburg, VA 23185Richard H. Prosl, 804-253-4748 [email protected]

Computer Graphics U PGM B PC/AT clones (CGA, EGA), TurboPASCAL

Hearn & Baker

Hollins College, Mathematics, Roanoke, VA 24020Caren Diefenderfer, 703-362-6595

The Mathematical Elements of Computer Graphics U PM B IBM PCs

ParkProjects U same

Randolph-Macon College, Computer Science, Ashland, VA 23005Ben Burrell, 804-752-7209

Computer Graphics U PM A 286 computers (VGA), Turbo PASCALBerger, Foley & Van Dam



University of Richmond, Mathematics & Computer Science, Richmond, VA 23173Gary R. Greenfield, 804-289-8093 grg@urvax

Independent Study: Computer Graphics U PM D various

Foley & Van Dam

University of Virginia, Computer Science, Charlottesville, VA 22901Worthy Martin, 804-924-7605

Computer Graphics G AM AHearn & Baker

Virginia Polytechnic Institute & State University, Computer Science, Blacksburg, VA 24061Cliff Shaffer, 703-231-6931 [email protected]

Computer Graphics U PM T Mac IIsHearn & Baker, Foley & Van Dam

Projects UG same plus Sequent Symmetry, Hypercube,Vaxs

WASHINGTON

Eastern Washington University, Computer Science, Cheney, WA 99004William Clark, 509-359-6260 uunet!iscuva!ewu!clark

Computer Graphics (CAD) U N B Sun 386s, AutoCADComputer Graphics Programming U PM A Sun 386s, SunView

Hearn & BakerAdvanced Computer Graphics G AGM A same plus Xview

HarrisonProjects UG same plus Framemaker

Pacific Lutheran University, Computer Science, Tacoma, WA 98447Larry Edison, 206-535-7400

Computer Graphics U PM B VAX8600s, Suns (Sun-CORE), IBM PCsPokorny & Gerald

Projects G same

University of Puget Sound, Mathematics & Computer Science, Tacoma, WA 98416Carol M. Smith, 206-756-3563 [email protected]

Computer Graphics U Apollos (Domain GPR-NGS) Tek 4692Hearn & Baker



Western Washington University, Computer Science, Bellingham, WA 98225Gary L. Eerkes, 206-676-3807 [email protected]

Intro to Computer Graphics U AM A VAX 8650 (AED 1024), DI3000Hearn & Baker

Projects U same

WEST VIRGINIA

West Virginia University, Statistics & Computer Science, Morgantown, WV 26506Alan Butcher, 304-293-3607 [email protected]

Computer Graphics U P A Mac SEs & IIsHearn & Baker

Interactive Computer Graphics G A A sameRogers, Rogers & Adams

Projects G SGI 4D/20 & 40/240, Sun 4s

Wheeling Jesuit College, Mathematics/Computer Science, Wheeling, WV 26003Margaret Geroch, 304-243-2340 OS360012@WVNUM

Computer Graphics U PM B Apple IIe, IBM PC clone, AT&T 6-386Hearn & Baker

WISCONSIN

University of Wisconsin - Oshkosh, Computer Science, Oshkosh, WI 54901Andrew L. Perrie, 414-424-1182/2068 [email protected]

Computer Graphics U PAM A VAX 11/780, mVAX II, GIGI,MODGRAPH, NDS, CORE

Pokorny & GeraldProjects U same

University of Wisconsin - Parkside, Applied Computer Science, Kenosha, WI 53141Morris W. Firebaugh, 414-553-2128 [email protected]

Computer Graphics U PM A Macintosh, PCsHearn & Baker

Projects U same

University of Wisconsin - Stevens Point, Computer Information Systems, Stevens Point, WI 54481Keith Rice, 715-346-4454

Computer Graphics U PM A MicroVAX, AT&T 63xx,IBM PS/2, Tek, plotter, PHIGS

Hearn & BakerProjects U same



CANADA

ALBERTA

University of Alberta, Computing Science, Edmonton, Alta T6G 2H1Mark Green, 403-432-4584 [email protected]

Intro to Computer Graphics U A T Sun3/50sHearn & Baker, Green

Computer Graphics G G A same plus Sun, 3/60C IrisFoley & Van Dam, Joy et al.

Computer Animation G G B sameUser Interface Design G G D sameCurves & Surfaces in Computer Graphics G GM D same

Mortenson

University of Calgary, Computer Science, Calgary, Alta T2N 1N4Brian Wyvill, 403-220-6015 [email protected]

Computer Graphics I U PAM A Sun, Iris, Matrix camera, videoComputer Graphics II U PAGM A sameComputer Graphics G G A sameProjects UG same

University of Calgary, Continuing Education, Calgary, Alta T2N 1N4M. Smith, 403-220-6142 [email protected]

not specified L P T students' PC

BRITISH COLUMBIA

Simon Fraser University, Computing Science, Burnaby, BC V5A 1S6Tom Calvert, 604-291-4152 [email protected]

Interactive Graphics & AnimationU G A Mac SEs, Sun3/50s, Iris2400sProjects UG same plus Apollo, Symbolics

University of British Columbia, Computer Science, Electrical Engineering, Vancouver, BC V6T 1W5G. F. Schrack, 604-228-2326 [email protected]

Computer Graphics U PM A Mainframe, terminals, GKSHearn & Baker

Advanced Computer Graphics G PMAG A same plus Sun, IrisMortenson

Projects UG same



University of Victoria, Computer Science, Victoria, BC V8W 2Y2H. A. Muller, 604-721-7630 [email protected]

Computer Graphics U PM A Sun3/50s & 60s, SunCORE, SunViewBerger

NEW BRUNSWICK

University of New Brunswick, Computer Science, Fredericton, NB E3B 5A3Uday G. Gujar, 506-453-4566 [email protected]

Computer Graphics U A A IBM, IBM3279, IrisFoley & Van Dam

Computer Graphics G A A samesame

Advanced Computer Graphics G AGM A samereadings

Human-Computer Interaction U AM A IrisSpatial Data Structures G GM A various CRTsProjects UG same, PC’s

NEWFOUNDLAND

Memorial University of Newfoundland, Computer Science, St. Johns, Newfoundland A1C 5S7R. James Dawe, 709-737-8627 [email protected]

Computer Graphics U PAM A VAXs, Suns, Vectrix, Ataris, AED767, HPFoley & Van Dam

Applications of Computer Graphics G G D same

readingsProjects UG same

NOVA SCOTIA

Acadia University, Computer Science, Wolfville, N.S. B0P 1X0F. R. Giles, 902-542-2201 [email protected]

not specified U PM A IBM ATs, Sun3/60sHarrington



ONTARIO

Brock University, Computer Science, St. Catharines, Ont L2S 3A1Paul A. V. Thomas, 416-688-5550, x3514 [email protected]

Interactive Computer Graphics U A A Sun3sThomas

Topics: Advanced Computer Graphics U G D same

readingsProjects U same, Macintosh

University of Ottawa, Computer Science, Ottawa, Ont K1N 6N5Laurent Ruhlmann, 613-564-5427 [email protected]

Computer Graphics U AM A Sun net (Figaro), Apollo net (AEGIS)Newman & Sproull

Graphique Interactif U AM A samesame

University of Waterloo, Computer Science, Waterloo, Ont N2L 3G1Adele Newton, 519-886-1351 [email protected]

Intro to Computer Graphics U PMA T Iris stationsFoley & Van Dam

Projects G DEC stations, special purpose stations

University of Western Ontario, Computer Science, London, Ont N6A 5B7I. Gargantini, 519-661-3653 [email protected]

Computer Graphics U M T Sun3/60s, GKS, PHIGSHearn & Baker

Advanced Computer Graphics U G A sameFoley & Van Dam

Image Analysis and Graphics Applications G A A Masscomp 500, Barco 5151

course notesProjects U same

QUEBEC

Universityersite du Quebec a Hull, Computer Science, Hull, Que J8X 3X7M. B. Zaremba, 819-595-2376 ZAREMBA@UQHULL”

Infographie (Computer Graphics) U PM A VAX, Mac II, IBM PC/RT, MOVIE.BYU,GKS

Hearn & Baker, SchweizerProjects U same



SASKATCHEWAN

University of Saskatchewan, Computational Science, Saskatoon, Sask. S7N 0W0Herbert Yang, 306-966-4891 YANG@SASK

Computer Graphics U PM A Sun3, HP stations (color)Hearn & Baker

OTHER

AUSTRALIA

Adelaide University, Computer Science, AdelaideMarc Berger, 08-228-5833 [email protected]

Computer Graphics U PM A Mac IIBerger

University of Sydney, Computer Science, NSW 2006D. Herbison-Evans, 61-2-692-3423 [email protected]

Computer Graphics G AM A Macs, Sun3/50, Bolex animation, IBM RTs

AUSTRIA

Technical University Vienna, Practical Informatics, 1040 WeinWerner Purgathofer, 43-1-58801-4548 [email protected]

Computer Graphics U MP AProgramming Methods for Computer Graphics G MGP A DEC PC380Mathematical Elements for Computer Graphics G MGP A PCComputer Graphics Hardware G G A variousRealism in Computer Graphics G MGP A same

readingsProjects G G T VAX, Mac II, PC

readings



CZECHOSLOVAKIA

Institute of Technology, Computer Science, 306 14 Plzen, CzechoslovakiaVaclav Skala, 019-33650; 36881-5, x318

Computer Graphics G PM A IBM PC clones, PDP-11s, GKSFoley & Van Dam, Rogers

Computer Graphics & CAD Systems P AM D same

same

FEDERAL REPUBLIC of GERMANY

Technical University of Darmstadt, Computer Science, 6100 Darmstadtnot specified, 49-6151-1000-30 [email protected]

Fundamentals of Computer Graphics G AM A Suns, Apollos

Encarnacao & StrasserProjects UG same

University of Bremen, Informatics, D-2800 Bremen 33Frieder Nake, 0421-218-3525 [email protected]

Intro to Computer Graphics G PMA B Ataris, Macs, Sun3/50, 60, & 160Foley& Van DamPavlidisNewman & Sproull

Interactive Systems & Software Ergonomics G P B same plus IBM clones

readingsAdv Topics in Graphic Data Processing G GM B sameProjects G same plus Macintosh, Atari

JAPAN

Keio University, Science & Technology, 14-1, Hiyoshi, Kohoku-ku, Yokohama 223Yoshio Ohno, 044-63-1141 [email protected]

Computer Graphics U P A NECComputer Graphics G P A same



NETHERLANDS

Eindhoven University of Technology, Mathematics & Computing Science, 5600 MB, EindhovenC. van Overveld, 40-4474416 [email protected]

Intro to Computer Graphics UG PMA A PCscourse notes

Projects UG same plus Sun3/60s

TU Delft, Mathematics & Informatics, 2628 BL DelftFrits H. Post, 31-15-782528 hp4nl.uucp!duticg!frits

Intro to Computer Graphics & CAD/CAM L P A Apollo 3000s, Pafec CAD/CAM

HawkesComputer Graphics I U P A Olivetti PE24s, AED512, GKS

Hearn & BakerComputer Graphics II U G A same plus Mac SEsProjects G same plus E&S PS330, Convex C-220

University of Amsterdam, Computer Science, Kruislaan 409, 1098 SJ AmsterdamE. H. Dooijes, 031-205922041 usenet...!mcvax!uva!edoh

Computer Graphics U AM A IBM PS2/50s, frame grabberProjects UG VAX, IBM, IBM PC, Tektronix

NORWAY

University of Trondheim, Computer Science, N-7034 TrondheimTorbjorn Hallgren, 47-7-5936-79 [email protected]

Computer Graphics I U AM A PCs, Suns, Macs, GKS, PHIGS, SunViewHearn & Baker

Computer Graphics II G GM A same plus CRAYThalmann

Projects G same plus cameras, frame grabbers

PEOPLE’S REPUBLIC OF CHINA

Hangzhou University, Computer Science, Hangzhou, ZhejiangZhu Tu-cheng

Computer Graphics & Applications L P A IBM PCs, PS2/50&80, GW0520CH

Foley & Van Dam



Tsinghua University, Computer Science & Technology, Beijing, 100084Zesheng Tang, 2561144-2953

Fundamentals of Computer Graphics U PM A Gould 32/2750, Tek, Plot 10

Foley & Van DamComputer Graphics & Geometric Modeling HP9000/320C, Apollo3000

Mortenson

PORTUGAL

University of Coimbra, Mathematics, 3000 Coimbra, PortugalJose Teixeira, 351-39-28097/8/9 [email protected]

Mathematics-Computer Graphics U PM T IBM PC-AT, Suns, VAX, ApolloFoley&Van Dam

SWITZERLAND

Swiss Federal Institute of Technology, Computer Graphics Lab, CH-1015 LausanneD. Thalmann, 41-21-693-5214 [email protected]

Computer Graphics G A A Iris 4Ds, CRAY-2Projects UG same

UNITED KINGDOM

Brunel University, Computer Science, Uxbridge UB8 3PHM. L. V. Pitteway, 44-895-74000, x2233 [email protected] (JANET)

Computer Graphics & Image Processing I U PM A IBM PC, LaserWriter

Hearn/Baker, Barrett & MackayComputer Graphics & Image Processing II U GM A same plus Suns, cameras, etc

sameMaster Class G AM A same

Hearn & BakerProjects UG same

Heriot-Watt University, Computer Science, Edinburgh EH1 2HJ, ScotlandAlistair Kilgour, 31-225-6465 [email protected]

Computer Graphics U PM A Sun 3sFoley & Van Dam



Middlesex Polytechnic, Mathematics, Bounds Green Rd, London N11 2NQHuw Jones, 01-368-1299, x7474 [email protected] (JANET)

MSc in Computer Graphics G VAX, IBM, Tek, Tandon, Dunn,IKON, GEMS, etc

MSc Applied Computing Tech G sameMA Communications in Computing G sameProjects G same

Queen Mary College (University of London), Computer Science, London E1 4NSMel Slater, 44-1-975-5242 [email protected]

Interactive Computer Graphics U AM A UNIX stations, Mac IIsHearn & Baker

CAD & Advanced Graphics G AM A sameFoley & Van DamSalmon & Slater

Projects UG same

University of Dundee, Mathematics & Computer Science, Dundee DD1 4HN, ScotlandKeith Unsworth, 0382-23181, x4485 [email protected]

Computer Graphics U AM A Sun3/50s &60s, mVAX II/GPX, micros,GKS

Harrington, Foley & Van DamProjects G same

University of East Anglia, Information Systems, Norwich, Norfolk NR4 7TJA. Robin Forrest, 44-603-505217 [email protected]

Computer Graphics I/II U AM A Mac Plus & IIs, Suns, VAX, GKSFoley & Van DamNewman & Sproull, Rogers

Projects UG same

University of Glasgow, Computing Science, Glasgow, Scotland G12 8QQJohn Patterson, 44-61-339-8855, x6036 [email protected]

Higher Ordinary: Graphics U P A MacsJunior Honors: Graphics U PGM Macs, SunsSenior Honors: Graphics U AGM AMaster in Information Tech G P A MacsProjects U Macs, Suns



University of Manchester, Computer Science, Oxford Rd, Manchester MI3 9PLRoger Hubbold, 061-275-6158 [email protected]

Graphics & Databases L P A Suns, GKS, PHIGSHearn & Baker

Graphical User Interfaces L G A sameAdvanced Image Synthesis U GM A sameIntro to Computer Graphics G P A sameAdvanced Computer Graphics G G A same plus Meiko transputer, VAX station



Computer Graphics in Engineering, CAD/CAM and Drafting

ARIZONA

University of Arizona, Aerospace & Mechanical Engineering, Tuscon, AZ 85721H. A. Kamel, 602-621-2086

Engineering Program Design & Implementation U PM A PC net, Mac IIs, MV 10000

Hearn & Baker,Bell, Morrey, & Pugh

Computer Aided Geometric Design G G A same MortensonProjects UG same

ARKANSAS

University of Arkansas at Little Rock, Engineering Technology, Little Rock, AR 72204Michael Stewart, 501-569-3148

Intro to CAD L M T 286 & 386s (EGA), CAD software, tabletFuller (1)

Advanced CAD U G T sameFuller(2)

CAD/CAM U MG samemanuals

Projects U same plus hires color monitor

CALIFORNIA

California Institute of Technology, Mechanical Engineering, Pasadena, CA 91125Erik Antonsson [email protected]

Computer Aided Engineering Design G PM VAX 3X00s, PS300, Suns

Foley & Van DamProjects UG same

Foothill College, CIS, Los Altos Hills, CA 94022Michael Loceff, 415-960-4384

Intro to Computer Aided Drafting U IBM systems, AutoCADIntro to CADAM U same, CADAMComputer Aided Mechanical Drafting U same

Engineering, CAD/CAM and Drafting


COLORADO

University of Colorado - Boulder, Civil Engineering, Boulder, CO 80309Victor Saouma, 303-492-1622 [email protected]

not specified U Apollo & PS2scourse notes

Projects UG same

FLORIDA

University of Central Florida, Computer Engineering, Orlando, FL 32816C. S. Baur, 407-275-2236

Eng. Applications of Computer Graphics G PM A PCs (graphics boards), Chromatics, Ramtek

DeweyProjects UG same

University of Florida, Electrical Engineering, Gainesville, FL 32611John Staudhammer, 904-392-4310 jstaudh.uf.edu

Computer Graphics UG AM A IBM 4341(CAD system), VAX 11/780,Silicon Graphics 4D/60

Projects UG same

University of South Florida, Computer Science & Engineering, Tampa, FL 33620A. Tokuta, 813-974-4196 [email protected]

Geometric Modeling for CAD/CAM & Graphics G MP T Suns, VAX 8350, PS/2, Ardent Titan

Pigel

GEORGIA

Dalton College, Vocational - Technical Design, Dalton, GA 30720Michael Jordan, 404-272-4550

Introduction to Computer Aided Design L N T 386s, tablet, plotter, Lumena, AutoCAD

manuals, readingsIntermediate Computer Aided Design L G T sameAdvanced Computer Aided Design L G D same



Georgia Institute of Technology, Industrial & Systems Engineering, Atlanta, GA 30332T. Govindaraj, 404-896-3873 [email protected]

Effective Use of Interactive Graphics G PM A Mac IIs, NeXT, Sun, HP

Baecker & Buxton, Apple

INDIANA

Indiana Institute of Technology, Engineering, Ft. Wayne, IN 46803Gary Messick, 219-422-5561

Introduction to CAD L T mVAX II, Teks, Geniscos, IntercolorAnvil5000

course notesProjects U same

Purdue University, Mechanical Engineering, West Lafayette, IN 47907Dave Anderson, 317-494-5944 [email protected]

Interactive Computer Graphics UG PM T Suns, Iriscourse notes

Advanced Computer Graphics UG G T samecourse notes

Projects UG same

Vincennes University, Drafting, Vincennes, IN 47591Ed Lee, 812-885-5466

Computer Aided Drafting, 2D & 3D L N A IBM ATs, ComputervisionComputer Aided Drafting, Architectural L G A sameComputer Aided Drafting, Industrial L G A sameAdvanced CADD I, II: Architectural Applications L GL A Computervision, CADDSAdvanced CADD / Geometrics L G A sameAdvanced CADD / Industrial L G A sameIntro to Computer Graphics L N T IBM PC, ComputervisionCAD System Management L N A same

IOWA

Iowa State University, Freshman Engineering, Ames, IA 50011Rollie Jenison, 515-294-1614

Geometric Modeling for Engineering Design L PM T VAXs, Apollos, movie.BYU

Dewey



University of Iowa, Civil & Mechanical Engineering, Iowa City, IA 52242M. Asghar Bhatti, 319-335-5656

not specified U PM A Apollos, GMR-3D, GPRHarrington

Projects UG same plus Macs

KENTUCKY

Eastern Kentucky University, Industrial Technology, Richmond, KY 40475Clyde Craft, 606-622-3232

Computer Graphics U P A VAX11/785, Tek, FigaroBrown & Heck

Western Kentucky University, Industrial Technology, Bowling Green, KY 42101Kenneth Missnir, 512-745-5945

Computer Aided Drafting L T Zeniths, CalComp

MARYLAND

Johns Hopkins University, APL - Whiting School of Engineering, Baltimore, MDDavid Rogers, 301-267-3283 dfr@usna, navy.mil

Mathematical Elements for Computer Graphics G P A 386s (Vectrix)

Rogers & AdamsProcedural Elements for Applied Computer Graphics G G A same

Rogers

United States Naval Academy, Aerospace Engineering, Annapolis, MD 21402David F. Rogers, 301-267-3283 [email protected]

Computer Aided Design in Engineering U PM A VAX, Iris, Sun, E&S PS300

Rogers & AdamsProjects U same

MASSACHUSETTS

University of Massachusetts, Mechanical Engineering, Amherst, MA 01003George Zinsmeister, 413-545-2165

Intro to M.E. Design AutoCADSpecial Topics in CAD/CAM AutoCAD, CATIAComputer Aided M.E. Analysis CATIA, SORC



MICHIGAN

Center for Creative Studies, Industrial Design, Detroit, MI 48202Keith Vreeland, 313-872-3118

Computer Aided Industrial Design L N T IBM XT & AT, MegaCAD, TIPS

Lansing Community College, Construction & Engineering Technology, Lansing, MI 48901Ronald Garthe, 517-483-1339

AutoCADD: Industrial I & Architectural I L other IBM PS/2 70s & 80s, tabletsAutoCADD: Industrial II & Architectural II L G T sameLandCADD L G T sameCADkey L other T sameCADAM Basic, CADAM Ind I, CADAM Ind II L other T sameCADAM 3-D & Advanced 3-D L G T sameCADAM Solids Design L G T sameProjects UG same

MONTANA

Northern Montana College, Industrial Technology, Havre, MT 59501Val Valdez, 406-265-3700, x3060

CAD I, II, III L N T Vectra 386s (color), tablets, plotters

NEW JERSEY

Stevens Institute of Technology, Electrical Engineering & Computer Science, Hoboken, NJ 07030A. L. L. Narasimhan, 201-420-5611 [email protected]

Computer Graphics U VAX780, AT&T3B2 600readings

Intro to Computer Graphics G samesame

Advanced Computer Graphics G samesame

Projects UG same



NEW YORK

Broome Community College, Computer Graphics, Binghamton, NY 13902Gary Ostrander, 607-771-5337

Intro to Computer Graphics (Architecture) M Sun 386s (LAN), ARRIS,

Automatix AX400course notes

Courses in CAD & CADAM M IBM4381, CADAM, CATIA, AutoCADcourse notes

Columbia University, Mechanical Engineering, 500 W 120th St, New York, NY 10027David A. Hoeltzel, 212-280-2965

Advanced CAD G G A IBM RT, 5080, SymbolicsComputational Geometry for CAD/CAM G G A sameKnowledge-based Systems G G A sameProjects UG same

Rensselaer Polytechnic Institute, Engineering Computing Services, Troy, NY 12180Adelaide Lane, 518-276-8041 [email protected]

Engineering Graphics L N T IBM PCs & clonesIntro to Voice & Image Processing U GM A IBM 3081, mVAX II/GPX, Sun 3Digital Picture Processing G GM A sameComputer Vision G GM A same plus Mac IIs, VAX2000s

Rochester Institute of Technology, Technical Graphics, Rochester, NY 14614E. Paciorek, 716-475-4994

Introduction to CAD L N T IBM AT, tablet, plotter, AutoCADreadings

CAD L G T samesame

Independent Study U G T samesame

NORTH CAROLINA

Appalachian State University, Technology, Boone, NC 28608Al Rapp, 704-262-6359

Advanced Technical Illustration U G T MS DOS computers, VersaCADPlotters

course notes



OKLAHOMA

Oklahoma State University, Technical Branch, Engineering Graphics, Okmugee, OK 74447Stan Strecker, 918-756-6211

Intro to CAD L N T IBM PC clones, Autodesk, Computervision

SOUTH CAROLINA

Clemson University, Engineering Graphics, Clemson, SC 29634Vera Anand, 803-656-5755

Engineering Graphics with Computer Applications L P T VAX8650, Tek terminals, TekniCAD

Croft et al.Interactive Computer Graphics U PM T Sun4/110s, PATRAN, HOOPS, DI3000

DeweyComputer-Aided Geometric Modeling G GM A same

MortensonProjects UG Sun4/110s, HOOPS, ANSYS

TEXAS

Paris Jr. College, Drafting & Design Technology, Paris, TX 75460Harley Davis, 214-886-2903

not specified L N T IBM PC/AT clonesmanuals

University of Houston, College of Technology, Houston TX 77004Ronald C. Pare, 713-749-4652

CADD I, II U PM T HP3000, LexidatasDemel, Barr

Computer Drafting Design Applications U PM A same

sameProjects U same plus PCs, CAD software



UTAH

Weber State, Manufacturing Engineering Technology, Ogden, UT 84408Kelly Harward, 801-626-7144

Intro to CAD/CAM L M T 286sWohlers

CAD/CAM Applications U G B VAX 8700, VAXstationsame

CAD/CAM Projects U G B samesame

VIRGINIA

University of Virginia, Electrical Engineering, Charlottesville, VA 22901J. H. Taylor, 804-924-6100 [email protected]

Computer Graphics in Engineering Design G P A SunCORE

Newman & Sproull

University of Virginia, Mechanical/Aerospace Engineering, Charlottesville, VA 22903Larry G. Richards, 804-924-3191

Engineering Graphics L N A AT&T 6300s, CADkeyComputer Graphics U P A Prime, Tektronix, IBM

PS2s, AT&T 6300, CADkeyPATRAN

ParkComputer-Aided Engineering & Design G PM A Prime, Tektronix, Medusa

PATRANHearn & Baker

Projects UG same plus Cyber, AT&T 3B5,VAX, Macs

WASHINGTON

University of Washington, Civil Engineering, Seattle, WN 98195J. B. Schneider, 206-543-8678 [email protected]

Computer-Aided Planning & Design of Urban Systems U N A IBM ATs(EGA)

course notesProjects UG same plus others



University of Washington, Mechanical Engineering, Seattle, WA 98195D. E. Calkins, 206-543-9443

Intro to Computer-Aided Technology U P T course notes

WYOMING

University of Wyoming, Engineering, Laramie, WY 82071Bruce Dewey, 307-766-4253

Computer Graphics Applications UG PM T Prime, Tektronix, Macs, networkedDewey

Projects UG same plus VAXs

CANADA

ALBERTA

University of Calgary, Electrical Engineering, Calgary, Alberta T2N 1N4M. Smith, 403-220-6142 [email protected]

not specified U A A Sun3, Amiga

OTHER

ITALY

Universityersita di Bologna, Dipartimento di Meccanica, I-40736 BolognaPier Gabriele Molari, 57-583450

Progettazione Assistita di Strutture Mechaniche G PM A VAX, Tek, VT 240, Genisco, GKS

Angell, Foley & Van Damcourse notes

Projects G same plus HP 860

PORTUGAL

Technical University of Lisbon, CMEST - Civil Engineering, 1096 Lisboa Codex, PortugalHarold P. Santo, 351-1-80-1579/89-7650 [email protected]

Computer Graphics in Architecture & Structural Engineering UG MP A Macs, VAX, movie.BYU

Santo



Computer Graphics in the Arts, Architecture and Design

ALABAMA

John C. Calhoun State Colllege, Fine Arts, Decatur, AL 35609Helen Austin, 205-353-3102, x397

Intro to Computer Graphics L N T IBM PC clones (Lumena), Mac IIs(Adobe, Aldus), Amigas (various)

Projects U same

ARIZONA

Arizona State University, School of Art, Tempe, AZ 85287not specified, 602-965-3468

Computer Art I UG T Mac IIs, IBM XT/ATs(Targa),video, TIPS, Superpaint

Computer Art II UG G A same plus Matrix PCR, Cubicomppicturemaker

RogersFoley & Van Dam

Advanced Computer Art UG G T same plus Lumena, Diaquest,Director

same

Phoenix College, Art, Phoenix, AZ 85013Gail Jamieson, 602-867-9666

11 courses L A Amiga 500, Mac Plus & II, (Mac:Vision, Draw, Paint), Freehand,Image Studio, film recorder,scanner

Scottsdale Community College, Art/Computer Art/Graphics, Scottsdale, AZ 85256William J. Martin, 602-423-6337

Intro to Computer Graphic Arts L N T Amiga, Xerox 4020, filmrecorders

2-D Computer Design L G T same3-D Computer Design L G T sameComputer Art L G D sameDesigner Tools L G D same

Arts, Architecture and Design


CALIFORNIA

CADRE Institute, San Jose State University, Dept of Art, San Jose, CA 95192Joel Slayton, 408-924-4368

Intro to Computer Art & Design U N T Ridge32c(Raster Tech), Sun 3/280,MacIIs (Vista), 386 computers (Targa)

Advanced Proj in Computer Art & Design U G T sameSem in Art, Science, and Technology U N T sameSpecial Topics U N T sameGraphic Design U N T sameComputer Graphics for Designers U N T sameGraduate Tutorials G N T sameIndependent Studies U T same

California Institute of the Arts, Motion Graphics Dept, Valencia, CA 91355Vibeke Sorensen, 805-255-1050

Computer Animation U A Iris/Wavefront, Cubicomps, video/VAS IV

California State University - Los Angeles, Art, Los Angeles, CA 90032Tony Longson, 213-343-4034

Computer Graphics I, II U N T VAXs, Mac IIs, TargaComputer Animation U G T same

Center for Electronic Arts, 329 Bryant St, Suite 3D, San Francisco, CA 94107Harry Hedelman, 415-882-7063

continuing education courses, most MS DOS computers, Macs,of which involve computer graphics, Symbolics, Lumena, Aurora, Adobe, Aldusvideo and film

Cypress College, Fine Arts Department, 9200 Valley View St, Cypress, CA 90630Michael Johnson, 714-828-0313

not specified LP T 286 & 386 computers (Targa), JVC & Dunn cameras, various software

Foothill College, Graphic Design, Los Altos Hills, CA 94022Michael Loceff, 415-960-4384

Intro to Computer Graphics L N T IBM XT, Tecmar, Adobe, Lumena, PC paintcourse notes

Computer Graphics Applications L G sameIllustraton with the Macintosh L G T Mac SE, scanner, Adobe, Post-Script

Data Show



Layout & Graphic Design w/ Macintosh L G sameProduction Art with the Macintosh L G sameIntro to Computer Animation L N T Silicon Graphics 3000, video recorder,

controller, Cubicomp, movie.BYUcourse notes

Intro to Cubicomp Vertigo L G Silicon Graphics, CubicompProjects U same

Los Angeles County High School for the Arts, Art Department, c/o Cal State - LA, Los Angeles, CA 90032Jackie White, 213-343-4012 [email protected]

Computer Graphics L N T VAX 11/730s (VT 240s, Ramtek), Mac IIspixel paint, IBM PC (Targa), video recorder

Platt College, Computer Graphics & Design, 6250 El Cajon Blvd, San Diego, CA 92115Jack Davis, 619-265-0107

Computer Graphics & Design P N D Macintosh II (Adobe, Aldus), color scanner

Rancho Santiago College, Art/Telecommunications, Santa Ana, CA 92706Sharon Ford, 714-667-3177

Intro to Computer Graphics L N IBM AT, Cubicomp, Matrix, inkjet, videoComputer Graphics 2D/3D Fundamentals L G T samePaint/Advanced Modeling L G T same3D Motion Graphics L G T sameAdvanced Animation L G A sameComputer Graphics Production L G T same

San Diego City College, Computer & Information Sciences, San Diego, CA 92101Lawrence Forman, 619-230-2666

Intro to Computer Graphics L N T IBM PS/2s (VGA), color printer, scanner,Dr. Halo

Kerlow & RosebushComputer Graphics on the Mac L N T Mac II cx, video, Superpaint,

VideoworksIIGuzelimian, Poole

Computer Animation on a Mac L G A same

San Francisco State University, Art, San Francisco, CA 94132Stephen Wilson, 415-338-2176

3 courses in applications in conceptual design LU N T Mac IIs, Targa, Iris, scannersInteractive Media U N T same2 courses in Advanced Imaging U N T same



UCLA Extension, Arts, 10995 Le Conte Ave, Los Angeles, CA 90024Ruth Iskin, 213-206-8503

Professional Designation Program in Computer Graphics: Animation, AT&T (Targa), Macs, Truevision 2D Imaging or Desktop Publishing AutoCAD, Adobe, Pagemaker

West Coast University, Computer Graphics for Artists & Designers, Los Angeles, CA 90020Tony Longson, 213-386-7782

Certificate Program in Computer Graphics P T VAX, Ramtek, Macs, PS300, LaserWriter

COLORADO

University of Colorado - Boulder, Fine Arts, Boulder, CO 80309Charles Roitz, 303-492-6645

Electronic Photography UG N T IBM XT, Colorado Video, Howtek printer

University of Denver, New College, Aurora, CO 80014Cynthia Rudy, 303-745-9600

Microcomputer Graphics Tools G B IBM system 30s

University of Southern Colorado, Art, Pueblo, CO 81001Carl Jensen, 719-549-2816

Computer Imaging LU T IBM ATs, Mac IIs, Genigraphics, Adobe,Imagestudio

Macintosh II Graphics LU T same

CONNECTICUT

Connecticut College, Art, New London, CT 06320Chair, Art Dept, 203-447-1911

Graphic Design L T Mac II, SE, post script printersComputer Art U A same plus Amiga, Photon Cel Animator

Studio 8, AdobeDISTRICT OF COLUMBIA

The George Washington University, Art, Washington, DC 20052Jeffrey L. Stephanic, 202-994-6085/9052

Intro to Computer Graphics for Artists U N T Macintosh, LaserWriterComputer Graphics L N T IBM (Artworks), Macintosh, scannersVisual Communication III/ Computer Graphics U T IBM PS/2(30, 50), Circus



FLORIDA

Miami-Dade Community College Faculty, Staff & Program Development, Miami, FL 33176Chris Robinson, 305-347-2508

In-service Training G IBM PS/2 (70), Deluxe Paint II

Ringling School of Art & Design, Computer Graphics & Design, Sarasota, FL 34234Jacquelyn Ford Morie, 813-351-4614 [email protected]

Basic Computer for Majors L N A Amiga 2000s, IBM PS/50s, scanner,Deluxe Paint Aldus

Rosebush & Kerlow, RivlinComputer Illustration I & II L N A same plus IBM ATs, Inovion, color ptr,

various softwareGraphic Design w/Computer Application L N T sameComputer Graphic Tech. I & II L G A same plus Mac IIs with graphics softwareComputer Graphics Paint Systems L N T sameDigital Photography U G A MacIIs ImageStudio, QuickCapture, Inovion

Sony camera, viewing, printer systemAdvanced Publication Tech I & IIU G A Mac IIs, PostScript printer, scanner,

Adobe, Aldus, QuarkIntermediate Animation U G A Amiga 2000s, output to 3/4" tape, Sculpt

Animate 4D, A2live, FantavisionAdvance Animation U G A 386 computers, Topas 3D modeler &

animation, Diaquest ctrl, Cygnus correctorComputer CAD Systems U N A IBM PS/50s, AutoCAD

AutoCAD books

University of South Florida, Art & Art Education, Tampa, FL 33620Bruce L. Marsh, 813-974-2360

Intro to Computer Graphics L N T Amigas, digitizers, video editors, Lumina 8,SG 4D/70G (Alias)

Advanced Computer Graphics L G T sameComputers for Visual Learning U N T sameDirected Study for Grads G N B sameProjects G same

GEORGIA

Dalton College, Vocational - Technical/Design, Dalton, GA 30720Michael Jordon, 404-272-4550

Textile Design L G T 386s, tablets, plotters, scanners, Lumena



ILLINOIS

Columbia College, Computer Graphics, 600 S. Michigan Ave, Chicago, IL 60605Bill Linehan, 312-663-1600, x429

Programming for Computer Graphics L N T Amiga 1000s & 2000s, film recorder, Xerox

4020 printer, Liquid Light ImprintComputer Graphics & Video L G Amiga 2000s, digitizer, 8mm camcorder,

1/2" VHS editor, animation softwareLovejoy

Computer Graphics Intermediate I U G T IBM AT clones (Targa 16), Lumina 16color printers

Kerlow & RosebushComputer Graphics Intermediate II Experimental Imaging U G T same plus Crystal 3D, image capture system

Kerlow & RosebushComputer Graphics Intermediate II 3D Modeling/Animation U G T same plus Diaquest frame controller

KerlowComputer Graphics & Applications I L N T Amiga 1000s&2000s, Digi-View, film rcdr

manualsComputer Graphics & Applications II 3D Modeling & Animation L G T same

Kerlow & RosebushComputer Graphics & Applications II Experimental Imaging L G T same

Kerlow & RosebushMac II: Motion Graphics U G Mac IIs (NuVista), Hypercard, PixelPaint

AnzovinMac II: 3D Imaging U G same

Anzovin

Illinois Institute of Technology, Institute of Design, Chicago, IL 60616312-567-3250

Computer Techniques in Imagemaking U PM T HP2700 terminals (Starbase)Projects UG same plus Iris 4D/70G, Sun3, Mac IIs, Alias

The School of the Art Institute of Chicago, Art and Technology, Chicago, IL 60603Joan Truckenbrod, 312-443-3700

Experimental Computer Imaging L N T Mac SE, Plus, II, scanners, videoTruckenbrod

Advanced Computer Imaging U G T IBM 386s(Targa), Lumena, scanner, video,film



Computer Graphics Programming U G T Sun 3Computer Animation - 2D U G A same plus Dunn camers, Amiga 2000Computer Animation - 3D U G A sameInteractive Media U G T Mac II, Video diskElectric Publication Design U G T Mac II, PageMaker, Quark, Adobe, AldusKinetics UG AG A variesComputers/Holography UG AG A variesProjects UG all same

INDIANA

Purdue University, Creative Arts, West Lafayette, IN 47907Rick Paul, 317-494-3058

Computer Graphics L N T IBM PC/XT clones, Mac SEs & PlusZenith 286, plotters, AutoCAD, videoworks

Projects U same plus Suns, IBM PC/AT clones

IOWA

Graceland College, Art, Lamoni, IA 50140Daniel Keegan, 515-784-5141

not specified U A Mac SE & IIs, Pagemaker, IllustratorImagestudio, Quark

manuals

Marycrest College, Computer Graphics, Davenport, IA 52804Alan Garfield, 319-326-9532

Art & Computers L N T IBM AT clones, 386s, PaintbrushComputer Art & Design I U PG A IBM AT clones, Lumena, Dr. Halo, printersComputer Programming ProjectsU G A same, BASIC, C, Assembly

readingsComputer Art & Design II U PG A same, AutoCAD, MegaCADD, Animate

ShowComputer Art & Design III U PG A same, Ventura, Pagemaker , WordperfectSeminar U PG A sameSpecial Topics U PG A same, digitizers, scanners, animation

softwareKANSAS

Kansas State University, Clothing, Textiles, & Interior Design, Manhattan, KS 66506Barbara Cannon, 913-532-6993

CAD f/Interior Design & Housing L T Zenith 159s (Summasketch digitizers)AutoCAD

CAD for Apparel Design L T same



MARYLAND

Frederick Community College, Fine Arts/Communications, Frederick, MD 21773Martin Nikirk, 301-694-1259

Computer Graphics & Design G A Macs, Pagemaker, Superpaint, Mac 3DKerlow & Rosebush

Maryland Institute College of Art, Visual Communication, Baltimore, MD 21223Lew Fifield, 301-669-9200

Basic Computers T Mac Plus, IIs, 286sDesktop Publishing T Pagemaker, Illustrator, QuarkXpressCAD for Interior Design T AutoCAD, TIPS, RIO, TOPASAdvanced Illustration & Design T sameTARGA Illustration/Solid Modelling T sameIndependent Study T same plus Aurora, MAC

University of Maryland College Park, Design, College Park, MD 20742Terry Gips, 301-455-6267

Intro to Computer Graphics & Design L N T IBM PS2/50, AutoCAD, Dr. Halo

Kerlow, Foley & Van DamComputer Applications in Space Design U N T sameComputer Generated Decorative Patterns U G T sameComputer Imaging U T same plus EGA & Targa boards,

Number Nine, ChorusProjects U same

MASSACHUSETTS

Massachusetts College of Art, Computer Arts Center, Boston, MA 02215Hubert Hohn, 617-232-1555, x357

Introductory & Advanced courses in Amigas, Apple IIes & IIGSs, IBM PCs &graphics programming, design, clones, Macs, Lisas, video (genlock), animation, publishing Pagemaker

The New England School of Art and Design, Graphic Design, Boston, MA 02116Steve Gildea, 617-536-0383

Intro to Computer Graphics P N T IBM AT clones, PC paintIntro to Desktop Publishing P N T AT clones, Mac SEs, Pagemaker laserwriterBasic AutoCAD P N T AT clones, digitizers, prtr-pltr AutoCAD

Inside AutoCAD



Computer Design & Illustration P N T AT clones (Targa), digitizers, Dunn cameracolor printer, VHS recorder

Computer Animation P A T sameAdvanced Computer Graphics P A T sameComputer Graphics for Business P G T Autographix 200 workstation, color printerComputerized Typesetting Compugraphic, MCS Powerview

MCS 8000, G.O.GraphicsCraig

Williams College, Computer Science, Williamstown, MA 01267Donald House, 413-597-3052 [email protected]

Computer Imaging L N A Mac IICXs, NGS

MICHIGAN

Grand Valley State, Communications, Allendale, MI 49401Deanna Morse, 616-895-3101

Computer Image Making U N A Mac II

Lansing Community College, Media/Art, Lansing, MI 48901Sharon Wood, 517-438-1476

Intro to Computer Graphics L N TComputer Graphics I L G T IBM AT, PS2/30, Lumina, VHS recorderComputer Graphics II L G T same2D Animation L G T sameBusiness Presentations L GM T same3D Animation L G A Cubicomp 60, Sony BVU 950Desktop Publishing L T Mac SE & II, Laserwriter Plus & IINTX

Pagemaker, Image StudioProjects U all same

Schoolcraft College, Art & Design, Livonia, MI 48152Lincoln Lao, 313-462-4400, x5221

Intro to Computer Aided Art and Design U T IBM AT, Mac IIIntermediate Computer Aided Art and Design U G T same plus AmigaAdvanced Computer Aided Art and Design U G A sameDesktop Publishing U G T same

University of Michigan, EECS Dept, Ann Arbor, MI 48109Spencer Thomas, 313-936-2616 [email protected]

Computer Animation L N D Apollo network, Intelligent Light, video



Wayne State University, Art & Art History, Detroit, MI 48202Robert Martin, 313-577-2985

Computer Art T Mac SE, AT&T 6300 (Truevision),Amiga 2000 (Electronic Arts)

Projects U same

MINNESOTA

Minneapolis Technical Institute, Commercial Art, Minneapolis, MN 55403Dianne M. Michels, 612-370-9499

10 different courses P N T Mac SE, II, IIcx, IBM AT & PS/2, scanner,film recorder, Illustrator 88, PageMaker,Lumina

MISSOURI

St. Louis Community College at Forest Park, Art, St. Louis, MO 63110Evann Richards, 314-644-9352

Computer Art Applications L A IBM clones, color printer, scannersomnicrom, Publisher’s paintbrush, Aldus

CorelCommunications Graphics L A sameComputer Typesetting L A sameDesktop Publishing L A sameAdvanced Computer Art Applic. L A sameIntroduction to AutoCAD L A same plus AutoCAD

St. Louis Community College at Meramec, Communications, Kirkwood, MO 63122Diane Carson, 314-966-7532

Filmmaking & Adv. Video Prod. L N A Apples, Printshop, Fantavision, DayyleDrawcourse notes

University of Missouri, Environmental Design, Columbia, MO 65211Richard Helmick, 314-882-7470

Computer Graphic Applications for Design U N T Mac Plus & II, IBM AT &PS2/60

tablets, plotter, softwareDesign Communications II U T sameProjects UG same



NEBRASKA

College of Saint Mary, Computer Graphics, 1901 S. 72nd, Omaha, NE 68124Tom Schlosser, 402-399-2621

Computer Graphics major with 6 courses T

NEW JERSEY

Glassboro State College, Art, Glassboro, NJ 08028Des McLean, 609-863-6439

Computer Art L N T 386s (Targa), tablets, videoreadings

Intermediate Computer Art U G T Mac SEs, IIs, Studio 8, Lumenareadings

Motion Graphics I U G T Crystal 3D, RIO, TIPS, Adobereadings

Motion Graphics II U G T Pixelpaint, Superpaint, videoreadings

Projects U same

Kean College of New Jersey, Fine Arts, Union, NJ 07083Robert B. Coon, 201-527-2307

Computer Graphics U N T Apple IIes, Mac IIs, plotters tabletVia Video

Computer Graphics II U G T same

New Jersey Institute of Technology, School of Architecture, Newark, NJ 07102M. Stephen Zoepski, 201-596-3080

Architectural Studio P N T 386s (VGA, Targa)Projects UG same

Rutgers-Camden, Art, Camden, NJ 08102Maria Palazzi, 609-757-6176

Intro to Desktop Publishing L N T Mac IIs, Word, Aldus, Adobe, scannerComputer Art I L T Leading Edge PC, Dunn camera, digitizer

Artronics, GenigraphicsComputer Art II L G T sameComputer Animation I U G T Amiga 2000, Sun 3/60, OSU/agE, various

HP color plotter, Sony 3/4" videoComputer Animation II U G T sameComputer Graphics Internship U G T agency or studio facilities



Seton Hall University, Communication Graphics, South Orange, NJ 07079Ken Hoffman, 201-761-9474

Intro to Computer Graphics L N T IBM ATs, No 9, Targa, Matrix recorderSony video, Studiowork, Paint

HoffmanPresentation & Information Graphics U G A same

sameComputer Design in Advertising Art U G T same plus Tek 5696, Lumena, color printerAdvanced Computer Graphics & Animation U G A same plus frame controller, Cubicomp

picturemakerAdv Electronic Design & Desktop Publishing U G A Mac IIs, NTXII laserwriter, Aldus, Adobe

IBM ATs, Quark

Trenton State College, Art, Trenton, NJ 08650Ruane Miller, 609-771-2655

Computer Graphics for Visual Arts L N T Mac IIs (Vista), 286 & 386s , (Targa)

Wilson, Kerlow & Rosebush

William Paterson College, Art, Wayne, NJ 07470Leslie Noble Farber, 201-595-2722

Computer as an Art Medium I L N T 386 computers, JVC video in, LumenaMatrix recorder, printer

Computer as an Art Medium II L G A Artwork, sync generator, color encoderComputer as an Art Medium III U G A sameComputer as an Art Medium IV U G A same plus Iris 3130s, 4D & 4D80GTs

frame controller, AliasComputer Animation I & II U T Iris 3130s, 4D &4DGTs, video controller

3/4" video editor, Seiko D-scan printerComputer Art & Design I & II G G A same

NEW MEXICO

New Mexico Highlands University, Visual Communications, Las Vegas, NM 87701Bruce L. Papier, 505-425-7511

Electronic Imaging I L N A 286 & 386s (Targa), Mac SE, color printerMatrix film recorder & video equip, Lumena

Electronic Imaging II U G A sameGraphic Design I, II, III U G A same



NEW YORK

Buffalo State College, Design (Graphic Design), Buffalo, NY 14222Herta Kane, 716-882-7778

Computer Graphics for Design & Art U AGM A Mac SE, Plus, II, Cybervision

Kerlow & RosebushProjects U same

City College of New York, CUNY Art Department, New York, NY 10031Annette Weintraub, 212-690-4201

Computer Graphics Workshop U T Macs (plus, IIcx), Laserwriters, page &video scanners, all major software, IBM PCs

Graphic Design on the Macintosh U T sameProjects U same

The Door, Creative Workshops, 127 6th Ave, New York, NY 10013Jacqueline Skiles, 212-941-9090, x256

workshops L N D Apple IIe, Amiga

Marist College, Mathematics & Computer Science, Poughkeepsie, NY 12601William J. Joel, 914-471-3240, x614/610 [email protected]

Computer Art U P A IBM-PC/XT

Pratt Institute - Manhattan, Continuing Education, New York, NY 10012Karen Miletsky, 212-925-8481

Certificate Program in Computer Graphics: Video Animation, Macs (Adobe, Pagemaker, Quark, Image Desktop Publishing, Electronic Studio), MS DOS,Targa, TIPS, Lumena Illustration RIO, Cubicomp

Rensselaer Polytechnic Institute, Engineering Computing Services, Troy, NY 12180Mark Resch, 518-276-6274 [email protected]

Intro to Computer Art L N T Amigas, IBM PCs & clonesIntro to Visual Electronic Art L N same

Rochester Institute, Technical National Institute for the Deaf, Applied Art, Rochester, NY 14623Michael Voelkl, 716-475-6203

Computer Illustration & Separation Methods L G T Mac SEs, IIs, IIcxs, scanner

Illlustrator 88, FreehandProjects U same



School of Visual Arts, Computer Graphics, 209 E. 23rd St, New York, NY 10010Lawrence Gartel, 718-229-8540

Computer Graphics Workshop L N T IBM PCs, Amiga, EaselDr. Halo, Deluxe Paint

Gartel

Syracuse University, Art Media Studies, Computer Graphics Program, Syracuse, NY 13244Edward Zajec, 315-443-1033 [email protected]

Intro Computer Graphics for the Visual Arts (2 sem) L N A PC clusters (graphics boards)

Sun cluster, Tek clusterInter Computer Graphics for the Visual Arts (2 sem) U G A Mac II cluster, VAX 8810 networkAdv Computer Graphics for the Visual Arts (2 sem) U G A sameGrad Computer Graphics for the Visual Arts (2 sem) G G A same

OHIO

Bowling Green State University, Art, Bowling Green, OH 43403Ron Coleman, 419-372-2786

Introduction to Computer Art U N T Atari Mega 2 & 3, animation softwaredesktop publishing, CAD, video equipment

3D Animation U T laser printer, genloc, Amiga 1000sPaint & sculpt software, Lumena

Problems in Computer Art U T sameAdvanced Problems in Computer Art U T sameSimulation or Special Techniques U T same

Central State University, Fine Arts, Wilberforce, OH 45384Andrew F. Scott, 513-376-6610

Computer Graphics Workshop L N T Amiga 500, 2000, camera, camcorderGenlock, Sculpt-Animate 3D/4D

Project U same

Columbus College of Art and Design, Industrial Design, Columbus, OH 43215Carl Garant, 614-224-9101

Intro to Computer Graphics L N T Amigas, Deluxe Paint, Directormanuals

Computer Graphics (Amiga) L N A same sameComputer Graphics (CAD) U T Apple IIes, RoboCAD



Computer Graphics (MegaCADD)U G A AT&T 6300s (DB Professional,Design Brand Artist)

Computer Graphics (CAM) U G A Apple IIe (RoboCAM, milling machine)

Ohio State University, Advanced Computing Center for Arts & Design, Columbus, OH 43212Donald Stredney, 614-292-3416

Microcomputer Graphics I LU N T Amiga 2000, videocourse notes

Microcomputer Graphics II LU G T samecourse notes

Computer Graphics in Arts & Education U N TComputer Animation Prod. I G P A Sun NFS

course notesComputer Animation Prod. II G PG A Sun NFS, Convex C-1Computer Animation Prod. III G PG A same

course notes

Ohio State University, Computer Aided Architectural Design, Columbus, OH 43210Chris I. Yessios, 614-422-2918

Computer Aided Architectural Design G PGM T IBM 4341, RTs, Mac IIs, X Windows

University of Cincinnati, College of Design, Architecture & Planning, Cincinnati, OH 4521??Director, Graphics Center, 513-556-2157

many courses LUG T Macs, IBMs, Teks, Harris HCX9(UNIX)Cubicomps

OREGON

Mt. Hood Community College, Visual Art/Graphic Design, Gresham, OR 97030Craig Clark, 503-669-6968

Computer Graphics L N T Mac SEs, IIs, IBM, scanners, digitizingcamera, tablets

Graphic Design L G T same

Pacific NW College of Art, Graphic Design, 1219 SW Park Ave, Portland, OR 97205Lynda Ferris, 503-226-4391

Color Computer U N T Mac Plus, SE, IIs, scanners, Dunn cameratablets, genlock board, Colorfreeze 24,

Desktop Publishing L N T Image Studio, Aldus, Adobe Freehand,Pixelpaint

workshops U N T same



University of Oregon, Fine Arts, Eugene, OR 97403Craig Hickman, 503-683-5562 [email protected]

Computers in Art I & I UG P T Mac SEs & IIs, LaserWriter, inkjetProjects UG same

PENNSYLVANIA

Carnegie-Mellon University, Art, Pittsburgh, PA 15213Harry Holland, 412-268-7158 [email protected]

Art & Computer I U N T IBM PCs, XTs, ATs (PGA or VMI)IBM RTs, plotters, printer

Adv Art & Computer II & III U G T Matrix film recorder, Macs, 3-D GraphicsTrueVision

course notesMFA Art & Computer G G T sameGraphic Programming U P T same

Indiana University of Pennsylvania, Art, Indiana, PA 15705Paul Ben-Zvi, 412-357-2530

Computer Graphics & Electronic Imagery U T Macs, scanners, digitizers, videoProjects UG same plus University resources

University of Pittsburgh, Studio Arts, Pittsburgh, PA 15260Charles Glassmire, 412-624-9335 [email protected]

Computer Graphics U T Sun 3/CXP, IBM ATs, digitizers, camerassoftware for paint, image analysis, modeling

Project U same

RHODE ISLAND

Rhode Island School of Design, Academic Computing, Providence, RI 02903Director, 401-351-3511, x443

many courses LUP NG TA Mac plus, SE, II, Amigas, IBMs, digitizersprinters, plotters

SOUTH DAKOTA

Northern State College, Art, Aberdeen, SD 57401Jim Gibson, 605-622-7762

Computer Aided Animation U G B Apple IIGS, Amiga, video, softwareProject U same



South Dakota State University, Visual Arts, Brookings, SD 57007Mitchell Bills, 605-688-4662

Graphic Design II, III U A Mac Pluses, MacDraw, AldusVideo Graphics U A Amiga, Digiview, Deluxe Paint

Videoscape 3D

TENNESSEE

Memphis State University, Art/Applied Design, Memphis, TN 38152Jim Watkins, 901-678-2978

Computer Graphics N T IBM XT & ATs, video digitizer, framecontroller, Lumena, Genigraphics,

Graphic Design forDigital Communication G T Digital Arts 3-D, TIPSStudies in Computer Animation G G A sameComputer Graphics Workshop G G D sameProjects G same

University of Tennessee, Art, Knoxville, TN 37996Susan E. Metros, 615-974-3208 METROS@UTKVX

Introduction to Computer- Enhanced Design L N T Mac Pluses, SE, II, Laser WriterIntermediate Computer- Enhanced Design U G T Panasonic 3D modelling stationAdvanced Computer- Enhanced Design G G T MS/DOS computers, Amiga animation sys

Middle Tennessee State University, Art, Murfreesboro, TN 37132Marc J. Barr, 615-898-2455

Intro to Computer Art U O A Amigas, DigiPaintIntermediate Computer Art U P A Mac II's, PixelPaint, Studio 8, Adobe, AldusWorkshop U P A same

TEXAS

Our Lady of the Lake University, Art, 411 S.W. 24th St, San Antonio, TX 78285Tharsilla Fuchs, 512-434-6711, x251

in preparation L

Texas A&M University, Visualization Lab, College Station, TX 77843Thomas E. Linehan 409-845-3465

3D Modelling & Animation U P D Suns, Iris 4D, Abekascourse notes



3D Computer Animation I, II G PG D samecourse notes

Computing Environments G P D Suns, Iris, NeXTEnvironmental Simulation G P D sameDigital Synthesis Techniques G P D sameExperimental Visualization Techniques G PG D same

University of North Texas, Art, Denton, TX 76203Larry B. Simpson, 817-565-4016

Computer Applications in Arts U A T Apple, Mac II, WASATCH, ArtronicProjects UG same

UTAH

Weber State College, Visual Arts, Ogden, UT 84408Mark Biddle, 801-626-6457

Computer Aided Art & Design U G T IBM (TimeArts), Mac plusses, SEs, IISanimation, paint

Project U same

VERMONT

University of Vermont, University Computing Services, Burlington, VT 05405Wesley Alan Wright, 802-656-1254 [email protected]

Computer Graphics for Designers L AT&T6300, PCPaintIntro to Computer Art L Amigas, HP Paintjet, PixelPaint

VIRGINIA

Virginia Commonwealth University, Communication Arts & Design, Richmond, VA 23284Mary Anna Lafratta, 804-367-1709

Media Arts Survey L N T Apple IIe, Amiga 500, tablet, digitizercourse notes

Computer Graphics 1 U G T Amiga 500/2000 manualsComputer Graphics 2 U A T same

sameComputer in Graphic Design U G T Mac plus, Laserwriter, ImagewriterComputer in Illustration same plus Amiga 500/2000Visual Communication Workshop G D Macs, Amigas



WASHINGTON

University of Washington, Architecture, Seattle, WA 98195Brian Johnson, 206-543-4180, x43771 max.acs.washington.edu

Computer Graphics Applications U G T VAX8800, Zenith PCs, IBM PS2/50s & ATclones, software

Washington State University, School of Architecture, Pullman, WA 99164Jeff Burnett, 509-335-1937

Computer Applications Seminar U P T 386s (VGA), Macs, tablets, digitizers,AutoCAD

Project UG Autosketch, Ventura, PageMaker

WISCONSIN

University of Wisconsin - Oshkosh, Art, Oshkosh, WI 54901Sandro Corsi, 414-424-2235 [email protected]

Computers in the Visual Arts L N T Mac IIs, SEs, Pluses, Pixar IISun 3/150, film recorder, software

Computer Applications in the Visual Arts U G T sameArt Seminar - Computer Graphics U G T same

CANADA

ALBERTA

The Banff Center, Media Arts, Banff, Alberta T0L 0C0Gary Beirne, 404-762-6641 [email protected]

post graduate residency program G G 386 micro, Vista, RIO, Lumena, Mac IIAmiga2000

BRITISH COLUMBIA

Emily Carr College of Art & Design, Computer Arts, Vancouver, BC V6H 3R9Dennis J. Vance, 604-687-2345

12 courses integrated in Art program Atari ST, Mac plus & II, Amiga, Sun



ONTARIO

Durham College of Applied Arts & Technology, Graphic Design, Oshawa, Ont L1H 7L7Barb Suen, 416-576-0210

Electronic Design I L N T Mac IICX, Quark, Adobe, AldusElectronic Design II U T same plus Macromind, ColorstudioProduction Graphics U A samePortfolio Studies U A same

OTHER

BRAZIL

Pontificia University Catolica - RJ, Arts, R. Marques de S. Vincente 225, Gavea-Rio de Janeiro, CEP 22453Rejane Spitz, 021-529-9211

Intro to Computer Graphics U N T IBM AT, PS2(70 & 80)s

JAPAN

Nippon Electronics College, Art, 1-25-4 Hyakunin-cho, Shinjuku-Ku Tokyo 169Suma Noji, 03-369-9331

Computer Graphics G N A VSX758s & kurams, YGT100s, TINK, PICreadings

Tokyo Kogakuin College of Arts, Computer Graphics, 1-35-4 Yoyogi, Shibuya-Ku, TOKYOMotohiro Hayasaka. 03-370-2981

Computer Graphics G AG NECs, Iris3020, VAX11/750, frame buffer

NETHERLANDS

SCAN (National Institute for Computer Animation), Graduate, 9701 BH, GroningenWim van der Plas, 31-50-138345 SCAN@HGRRUG5

Computer Graphics & Animation G other T Apollos, IBM RTs & PS2/80scameras, recorders, software

UNITED KINGDOM

Middlesex Polytechnic, National Centre for Computer Aided Art & Design, Barnet, Herts EN4 8HTLen Breen, 01-368-1299

MA Computing in Design G N A VAXs (GEMS, Picaso), Macs IIs(Quantel)Projects UG same



Computer Graphics in Geography and Geology

ALABAMA

Jacksonville State University, Geography, Jacksonville, AL 36265Thomas F. Bancom, 205-231-5781

Cartography U A Apple IIs, Compaq, IBM 4341, digitizersplotters, software

Computer Mapping U B same

ARIZONA

Arizona State University, Geography, Tempe, AZ 85287Frank Aldrich, 602-965-5023

Geographic Information SystemsU N A IBM 3083(GFIS/GPG), 5080 terminals

CALIFORNIA

California State University - Stanislaus, Geography, Turlock, CA 95380

under development

CONNECTICUT

Central Connecticut State University, Geography, New Britain, CT 06050James N. Snaden, 203-827-7218 [email protected]

Computer Cartography U other A VAX 8650s, IBM-PC/XTs, Mac , digitizerplotter

Geographical Information Systems U other A same

Southern Connecticut State University, Geography, New Haven, CT 06515Leon Yacher, 203-397-4354 [email protected]

Computer Applications in Geography U P D VAX, IBM PC, DEC Rainbow, SAS, SPSS

MonmonierFLORIDA

Florida State University, Geography, Tallahassee, FL 32306George F. Hepner, 904-644-1706

Computer Mapping U N A VAX, Prime, IBM PC/ATclones, Atlas SurferAdv Geographic Information Systems U PM A same plus Arc/Info, MAP, Geovision

Geography and Geology


GEORGIA

Georgia State University, Geography, Atlanta, GA 30303Borden Dent, 404-651-3232

Computer Graphics in Geography U B micros, digitizers, plotters

ILLINOIS

DePaul University, Geography, Chicago, IL 60614Dr. Dewey, 312-341-8271

not specified L N B IBM PCs & clones, digitizers, Atlas

IOWA

University of Iowa, Geography, Iowa City, IA 52242Marc P. Armstrong, 319-335-0153 [email protected]

Computer Methods in Geographical Analysis UG P A Macs, IBM-PC, tablet, plotterGeographic Information Systems U A same

KENTUCKY

Western Kentucky University, Geography & Geology, Bowling Green, KY 42101Glen Conner, 502-745-4555

Computer Mapping U A VAX, Tek, Apple, DISSPLA, SYMAnone

MAINE

University of Maine, Surveying Engineering, Orono, ME 04469Andrew Frank, 207-581-2174 [email protected]

Geometry & Computer Graphics U AM A VAX 3400sProjects UG same plus Macs, Intergraphs

MARYLAND

Frostburg State University, Geography, Frostburg, MD 21532Craig Caupp, 301-689-4755

Computer Mapping & Graphics U A IBM AT/XT, 2/30, Atlas, IDRIS, Dr. Halo II



MINNESOTA

University of Minnesota - Duluth, Geography, Duluth, MN 55812Kurt Schroeder, 218-726-6226 [email protected]

Computer Cartography U N A VAX, Encore, FIGARO, TEMPLATEplotters

MonmonierAdvanced Computer Cartography U P B same sameInteractive Computer Cartography U P B same sameProjects U same

NORTH CAROLINA

Appalachian State University, Geography & Planning, Boone, NC 28608Arthur Rex, 704-262-3000 [email protected]

Computer Assisted Cartography & Graphic Information Systems U AG A AT&T 6300s, digitizers, ERDAS

ARC/INFOATLASMonmonier

East Carolina University, Geography & Planning, Greenville, NC 27834Charles Ziehr, 919-757-6087 [email protected]

Princ. of Computer CartographyU N A IBM, IBM-PS2s, plotter digitizer, AtlasSURFER

Monmonier, Carter

OHIO

Ohio State University, Geography, Columbus, OH 43210H. Moellering, 614-292-2608 [email protected]

Numerical Cartography G PM A micros, workstations, mainframesInteractive Cartographic Systems G PM A sameSeminars in Cartography G PM A sameProjects G same

University of Akron, Geography, Akron, OH 44325Robert Kent, 216-375-7622

Computer Assisted Cartography U N A MonmonierGeographic Information Systems U N A MonmonierProjects UG



TEXAS

Sam Houston State University, Geography, Huntsville, TX 77341John H. Bounds, 409-294-1453

Map-Air Photo Interpretation U N D C-64, IBM, CADPAK, AutoCADcourse notes

VIRGINIA

Virginia Polytechnic Institute & State University, Blacksburg, VA 24061L. W. Carstensen, 703-961-5774 [email protected]

Computer Cartography U P A IBM PC/XT clones(#9 cards), digitizersscanners, etc

WISCONSIN

University of Wisconsin - Stevens Point, Geography, Stevens Point, WI 54481Keith Rice, 715-346-4454

Computer-Assisted Cartography U M A mVAX, AT&T 6300, IBM PS/2, Tek plotterMonmonier

Geographic Information Systems U M A sameMarble et.al.

Projects UG same

University of Wisconsin - Whitewater, Geography, Whitewater, WI 53190Dennis Richter, 414-472-1071

Computer Mapping & Applications U G A VAX11/780, 286 & 8088 micros

Atlas, mapInfo

CANADA

ONTARIO

University of Windsor, Geography, Windsor, Ontario N9B 3P4Ronald Welch, 519-253-4232, x2179 WINDSOR1BF9

not specified U N A IBM 4081, XT, AT, SYMAP, IDRIS,SURFER



Other Computer Graphics Applications

CALIFORNIA

California State University - Northridge, Mathematics, Northridge, CA 91330Joel Zeitlin, 818-885-2721

Differential Geometry U IBM PC clonesMillman & Parker

San Diego City College, CIS, San Diego, CA 92101Lawrence Forman, 619-230-2666

Applied Business Computer Graphics L N T 286 & 386 micros (VGA), Mac SE, software

University of California - San Diego, Mathematics, La Jolla, CA 92093Donald Anderson, 619-534-2628 [email protected]

Geometry of Computer Graphics U PM A PC-AT clones, Modula-2Projects U same

MICHIGAN

Grand Valley State University, Communications, Allendale, MI 49401Deanna Morse, 616-895-3101

Computer Image Making U N A Macs

NORTH CAROLINA

Environmental Protection Agency, Research Triangle Park, NC 27710Theresa-Marie Rhyne, 919-541-0207 UNISYS@EPA

seminars in various aspects IBM ATs, Suns, Macs, Matrix cameraplotters

NORTH DAKOTA

University of North Dakota, Mathematics, Grand Forks, ND 58202Dave Uherka, 701-777-4602 [email protected]

Topics in Applied Math: Iteration and Computer Graphics U PM D IBM 3081 & PCs, VAXs, Mac

Other Applications


Computer Graphics Bibliography

Adams, Lee. Supercharged Graphics. - TAB Books, PA, 1988

Angell, Ian O. A Practical Intro to Computer Graphics - Halstead Press, NY, 1981

Anzovin, Steven. Exploring Hypercard - Compute! Publications, PA, 1988

Ballard, D. H. & Brown, C. M. Computer Vision - Prentice-Hall, NJ, 1982

Barnsley, Michael. Fractals Everywhere - Academic Press, FL, 1988

Barr, Paul et al. CAD: Principles and Applications - Prentice-Hall, NJ, 1985

Barrett, A. N. & Mackay, A. L. Spatial Structure and its Applications - Macmillan England, London, 1987

Bartels, R., Beatty, J. & Barsky, B. An Introduction to Splines for Use in Computer Graphics and Geometric Modeling - Morgan Kaufman, CA, 1987

Beatty, J. C. & Booth, K. S. Tutorial: Computer Graphics - IEEE Computer Society, NY, 1982

Berger, Marc. Computer Graphics with Pascal - Benjamin-Cummings, CA, 1986

Bracewell, R. N. The Fourier Transform & Its Applications - McGraw-Hill, NY, 1987

Brown, M. D. & Heck, M. Understanding PHIGS - Template, CA, 1985

Carter, J. Computer Mapping: Progress in the 80’s - Association of American Geographers, Washington, D.C., 1984

Castleman, Kenneth R. Digital Image Processing - Prentice-Hall, NJ, 1979

Croft, Frank M. et al. Engineering Graphics - Wiley, NY, 1989

Demel, J. T. & Miller, M. J. Introduction to Computer Graphics - Brooks-Cole, CA, 1984

Dewey, Bruce. Computer Graphics for Engineers - Harper & Row, NY, 1987

Encarnacao, J. & Strasser, W. Computer Graphics

Enderle, G. et al. Computer Graphics Programming - Springer-Verlag, NY, 1987

Foley, J. D. & Van Dam, A. Fundamentals of Interactive Computer Graphics - Addison-Wesley, MA, 1982

Fuller, James E. Using AutoCAD 2.5 - Delmar, NC, 1986; Using VersaCAD - Delmar, NC, 1986

Guzilman, Vahe. Becoming an Amiga Artist - Scott-Forsman, IL, 1987

Hall, R. Illumination and Color in Computer Generated Imagery - Springer-Verlag, NY, 1989

Bibliography


Harrington, Steven. Computer Graphics: A Programming Approach, 2nd Edition - McGraw-Hill, NY, 1987

Hawkes, Barry. The CAD/CAM Process - Pitman, NC, 1987

Hearn, D. D. & Baker, M. P. Computer Graphics - Prentice-Hall, NJ, 1986

Joy, Kenneth I., Editor. Computer Graphics: Image Synthesis Tutorial - IEEE Computer Society, NY, 1988

Kerlow, Isaac & Rosebush, Judson. Computer Graphics for Designers and Artists - van Nostrand-Rinehold, NY, 1987

Mandelbrot, Benoit. The Fractal Geometry of Nature - Freeman, NY, 1982

Mantyla, Martti. Introduction to Solid Modeling - Computer Science Press, NY, 1988

Monmonier, M. S. Computer-Assisted Cartography: Principles and Prospects - Prentice-Hall, NJ, 1982

Mortenson, Michael E. Geometric Modeling - Wiley, NY, 1985

Myers, Roy E. Microcomputer Graphics - Addison-Wesley, MA, 1982

Newman, W. M. & Sproull, R. F. Principles of Interactive Computer Graphics, 2nd Edition - McGraw-Hill, NY, 1979

Park, Chan S. Interactive Microcomputer Graphics - Addison-Wesley, MA, 1985

Piegl, L. Geometric Modeling for CAD/CAM and Graphics - Lecture Notes, Locally Published

Pokorny, C. & Gerald, C. Computer Graphics - Franklin Beedle, CA, 1988

Rankin, John. Computer Graphics Software Construction - Prentice Hall, NJ, 1988

Rivlin, Robert. The Algorithmic Image - Microsoft, WA, 1986

Rogers, D. F. Procedural Elements for Computer Graphics - McGraw-Hill, NY, 1985

Rogers, D. F. & Adams, J. A. Mathematical Elements for Computer Graphics - McGraw-Hill, NY, 1976

Rogers, D. F. & Earnshaw, R. A. (eds). Techniques for Computer Graphics - Springer-Verlag, NY, 1987

Rosenfeld, A. & Kak, A. C. Digital Picture Processing, 2nd Edition - Academic Press, FL, 1982

Salmon, R. & Slater, M. Computer Graphics Systems & Concepts - Addison Wesley, MA, 1987

Schweizer. Infographie

Thalmann, D. Image Synthesis - Springer-Verlag, NY, 1985

Truckenbrod, J. Creative Computer Imaging - Prentice Hall, NJ, 1988

Wilson, Stephen. Using Computers to Create Art - Prentice-Hall, NJ, 1985

Bibliography

COMPANY STATISTICS

A picture of the entrance to the SIGGRAPH 1990 exhibitor floor. Each year exhibitorsgather from around the world and create a showplace for state-of-the-art computer graphics.

SECTION 5

COMPANY STATISTICS

LISTING BY COMPANY NAME 191

COMPANY STATISTICSpage 191

Advanced Technology Center22982 Mill Creek Drive

Laguna Hills, California 92653

ContactDr. Sahib Dudani

Company Area of InterestPresentation Graphics, Systems Software,Graphics Development Tools

Specific Computer Graphics Experience DesirableComputer Graphics Fundamentals, Raster Graph-ics Techniques, Vector Graphics Techniques, 2D/3D Computer Graphics, Image Rendering Tech-niques, Image Shading Techniques, Ray Tracing,Z-Buffer, Wireframe, Solid Geometry, BoundaryRepresentation, Freeform Curves & Surfaces

Shading PrinciplesConstant Shading

Graphics Standards ExperienceGKS, CGM, PHIGS

Specific Computer Science Skills Desirable

LanguagesC

Operating SystemsOperating Systems in General, UNIX, VMS

PrinciplesSoftware Engineering, Structured SoftwareDesign, Programming, Data Structures

Other Skills DesirableCommunications, Presentation, Management

Educational Levels SoughtB.S., M.S.

Educational Background DesirableComputer Science, Mathematics

Types of PositionsFull & Part time, Consultant

AGE8765 Aero Drive, Suite 226

San Diego, CA 92123

ContactCharles Kimmel

Company Area of InterestSystems Design, Systems Software, Systems Hard-ware

Specific Computer Graphics Experience DesirableComputer Graphics Fundamentals,Raster Graphics Techniques,2D/3D Computer Graphics

Graphics Standards ExperiencePHIGS, X Window System


LanguagesC, Assembly

Operating SystemsOperating Systems in General, UNIX, DOS

PrinciplesSoftware Engineering,Structured Software Design,Programming, Data Structures

Educational Levels SoughtB.S., B.A., B.F.A., M.S., M.F.A., Ph.D.

Educational Background DesirableLiberal Arts, Business Administration, Engineer-ing, General, Electrical Engineering, ComputerScience, Mathematics

Types of PositionsFull & Part time, Contractor, Consultant,Faculty Sabbatical Program


Alias Research110 Richmond Street East

Toronto, Ontario, CANADA M5C 1P1

ContactRita Silvan

Company Area of InterestArt & Animation, CAD/CAM, CAE/CIM, Presen-tation Graphics, Simulation, Systems Design, Sys-tems Software, Video

Specific Computer Graphics Experience DesirableRaster Graphics Techniques, Video Graphics Tech-niques, Vector Graphics Techniques, 2D/3D Com-puter Graphics, 2D/3D Animation, Image Render-ing Techniques, Image Shading Techniques, Z-Buffer, Wireframe, Spline Algorithms and Tech-niques, Radiosity

Shading PrinciplesConstant, Gouraud, PhongShading

Graphics Standards ExperiencePHIGS, IGES


LanguagesC, C++

Operating SystemsOperating Systems in General, UNIX


Other Skills DesirableCommunications, Writing, Public Speaking, Pre-sentation, Management, Traditional Animation

Educational Levels SoughtB.A., M.A.

Educational Background DesirableArt, General Engineering, Computer Science,Mathematics

Types of PositionsFull & Part time, Student Co-op Program,Contractor, Faculty Sabbatical Program

Anderson UniversityBox 2132

Anderson, Indiana 46012

ContactSusan Denoble Doherty

Company Area of InterestArt and Animation, Advertising, PresentationGraphics, Image Processing

Specific Computer Graphics Experience DesirableRaster Graphics Techniques, Video Graphics Tech-niques, Vector Graphics Techniques, 2D Com-puter Graphics, 2D Animation, Image RenderingTechniques, Image Shading Techniques


PrinciplesCommunications, Video Design,16-bit Microcomputer Systems Design

Other Skills DesirableCommunications, Writing, Public Speaking,Presentation, Layout Experience, Color Skills

Educational Levels SoughtB.S., B.A., B.F.A., M.S., M.A., M.F.A., Ph.D.

Educational Background DesirableArt, Liberal Arts, Business Administration,Computer Science

Types of PositionsPart time, Student Co-op Program


Androx Corporation1515 Hancock St.

Quincy, MA 02169

ContactPhilip Dunbar

Company Area of InterestImage Processing, Systems Design, Systems Soft-ware, Systems Hardware

Specific Computer Graphics Experience DesirableComputer Graphics Fundamentals, Raster Graph-ics Techniques, Video Graphics Techniques, Vec-tor Graphics Techniques, 2D/3D Computer Graph-ics, 2D/3D Animation, Image Rendering Tech-niques, Image Shading Techniques, Ray Tracing,Spline Algorithms & Techniques, CAD/CAM/CAE/CIM

Graphics Standards ExperienceCORE, GKS, CGM, CGI, PHIGS, NAPLPS,IGES

Specific Computer Science Skills DesirableLanguages

AI LanguagesOperating Systems

Operating Systems in General, UNIX, DOS,VMS, MVS, MS DOS, OS/2

PrinciplesSoftware Engineering, Hardware Engineer-ing, Communications, Digital Logical Design,Video Design, VLSI Design, ASIC Design, 8/16/32-bit Microcomputer Systems Design,Structured Software Design, Programming,Data Structures

Other Skills DesirableCommunications, Writing, Public Speaking, Pre-sentation, Management, Layout Experience

Educational Levels SoughtB.S., B.A., B.F.A., M.S., M.A., M.F.A., Ph.D.,Technical Institute Degree

Educational Background DesirableArt, Liberal Arts, Business Administration, Me-chanical Engineering, Electrical Engineering, Gen-eral Engineering, Computer Science, Mathemat-ics, Physics

Types of Positions

Full & Part time, Student Co-op ProgramArtronics, Inc.

300 Corporate CourtSouth Plainfield, NJ 07080

ContactRandy Klein

Company Area of Interest

AnimationPresentation Graphics

Specific Computer Graphics Skills Required

Raster Graphics TechniquesVector Graphics TechniquesVideo Graphics Techniques2D/3D Computer Graphics2D/3D Computer Animation

Other Skills Desirable

CommunicationsWritingManagementPersonal Management


ATARI Games CorporationP.O. Box 361110

Milpitas, CA 95035

ContactHuman Resources, Sandi Brown

Company Area of InterestArt & Animation, Simulation, Systems Design

Specific Computer Graphics Experience DesirableComputer Graphics Fundamentals, 2D/3D Com-puter Graphics, 2D/3D Animation, Ray Tracing,Z-Buffer, Solid Modeling, CAD

Shading PrinciplesConstant, Gouraud Shading



Operating SystemsOperating Systems in General, UNIX, VMS,MS DOS

PrinciplesSoftware Engineering, Hardware Engineer-ing, Digital Logical Design, Video Design,VLSI Design, ASIC Design, Bit-Slice Design,Microcomputer Systems Design, 8/16/32-bitMicrocomputer Systems Design, StructuredSoftware Design, Programming, Data Struc-tures, Real Time

Other Skills DesirableCommunications, Writing, Presentation, Manage-ment, Traditional Animation, Drafting

Educational Levels SoughtB.S., B.A., M.S., 2 Year Associates Degree

Educational Background DesirableArt, Liberal Arts, Business Administration,Mechanical Engineering, Electrical Engineering,General Engineering, Computer Science, Math-ematics, Physics

Types of PositionsFull time, Part time

Aztek Inc.15 Marconi

Irvine, CA 92718

ContactAdministrative Manager

Company Area of InterestArt & Animation, Advertising, Image Processing,Systems Design

Specific Computer Graphics Experience DesirableComputer Graphics Fundamentals, Raster Graph-ics Techniques, Video Graphics Techniques, Vec-tor Graphics Techniques, 2D Computer Graphics,2D/3D Animation, Image Rendering Techniques,Image Shading Techniques, Ray Tracing, Bound-ary Representation, Freeform Curves & Surfaces,Spline Algorithms & Techniques

Shading PrinciplesGouraud, Phong

Graphics Standards ExperienceCORE, GKS, CGM, CGI, PHIGS, NAPLPS


C, FORTRAN 77, AssemblyOperating Systems

UNIX, MS DOS, OS/2Principles

Systems Engineering, Software Engineering,Hardware Engineering, Microcomputer Sys-tems Design, Structured Software Design, Pro-gramming, Data Structures

Other Skills DesirableCommunications, Writing, Presentation, GraphicsArts, Color, Traditional Animation

Educational Levels SoughtB.S., 2 Year Associates Degree, Technical InstituteDegree

Educational Background DesirableArt, Computer Science



BPCConsult and Advise SC LTDA.

CX. POSTAL 64627Sao Paulo, SP BRAZIL 05497

ContactJose Bernardo Lemos

Company Area of InterestArt & Animation, Advertising, CAD/CAM, CAE/CIM, Presentation Graphics, Image Processing

Specific Computer Graphics Experience DesirableComputer Graphics Fundamentals, Raster Graph-ics Techniques, Video Graphics Techniques, Vec-tor Graphics Techniques, 2D/3D Computer Graph-ics, 2D/3D Animation, Image Rendering Tech-niques, Image Shading Techniques, Wireframe,Solid Modeling, Solid Geometry, Boundary Rep-resentation, Freeform Curves & Surfaces, CAD/CAM

Shading PrinciplesConstant, Gouraud, Phong

Graphics Standards ExperienceCGM


C, LISPOperating Systems

Operating Systems in General, UNIX, MSDOS

PrinciplesDigital Logical Design, Video Design, 16/32-bit Microcomputer Systems Design, Program-ming

Other Skills DesirablePublic Speaking, Management

Educational Levels SoughtB.S., B.A., 2 Year Associates Degree, TechnicalInstitute Degree

Educational Background DesirableArt, Liberal Arts, Computer Science

Types of PositionsFull & Part time, Summer, Student Co-op Program,Faculty Sabbatical Program

Byte by Byte Corporation9442 Capital of Texas Hwy N., Suite 150

Austin, TX 78759

ContactTony Tomsy

Company Area of InterestArt & Animation, Advertising, CAD/CAM, CAE/CIM, Presentation Graphics, Simulation, SystemsDesign

Specific Computer Graphics Experience DesirableComputer Graphics Fundamentals, Raster Graph-ics Techniques, Video Graphics Techniques, Vec-tor Graphics Techniques, 2D/3D Computer Graph-ics, 2D/3D Animation, Image Rendering Tech-niques, Image Shading Techniques, Ray Tracing,Z-Buffer, Wireframe, Solid Modeling, Solid Ge-ometry, Boundary Representation, Freeform Curves& Surfaces, Spline Algorithms & Techniques, CAD/CAM/CAE/CIM


Graphics Standards ExperienceCORE, GKS, CGM, CGI, PHIGS, NAPLPS,IGES


C, AssemblyPrinciples

Software Engineering, Video Design, 16/32-bit Microcomputer Systems Design,Programming, Data Structures

Other Skills DesirableCommunications, Writing, Public Speaking, Pre-sentation, Management, Graphics Arts, TraditionalAnimation

Educational Levels SoughtB.S., M.S., Ph.D.

Educational Background DesirableComputer Science, Mathematics, Physics

Types of PositionsFull & Part time, Summer, Student Co-opProgram


CSS Laboratories1641 McGraw AveIrvine, CA 92714

ContactJames Chou; Tom Monroe, Marketing

Company Area of InterestSystems Hardware


Operating SystemsOperating Systems in General, UNIX, DOS,MS DOS, OS/2

Principles8/16/32-bit MicrocomputerSystems Design

Other Skills DesirableCommunications, Writing, Management

Educational Levels SoughtB.S., B.A., M.S., 2 Year Associates Degree,Technical Institute Degree

Educational Background DesirableBusiness Administration, Electrical Engineering,General Engineering, Computer Science

Types of PositionsFull time

Digital Arts7050 Convoy Court

San Diego, CA 92111

ContactSheldon Liebman

Company Area of InterestArt & Animation, Systems Design

Specific Computer Graphics Experience DesirableComputer Graphics Fundamentals, Raster Graph-ics Techniques, Video Graphics TechniquesVector Graphics Techniques, 2D/3D ComputerGraphics, 2D/3D Animation, Image RenderingTechniques, Image Shading Techniques, SolidModeling, Freeform Curves & Surfaces, SplineAlgorithms and Techniques

Shading PrinciplesPhong



Operating SystemsUNIX, DOS

PrinciplesSoftware Engineering, Structured SoftwareDesign, Programming

Other Skills DesirableCommunications, Writing, Traditional Animation


Educational Background DesirableArt, Computer Science, Mathematics

Types of PositionsConsultant


Digital Vision Entertainment7080 Hollywood Blvd., Suite 901

Los Angeles, CA 90028

ContactGeoffrey de Valois

Company Area of InterestArt & Animation, Advertising, Image Processing

Specific Computer Graphics Experience DesirableVideo Graphics Techniques, 2D/3D ComputerGraphics, 2D/3D Animation, Image RenderingTechniques, Image Shading Techniques, Ray Trac-ing, Z-Buffer, Wireframe



PrinciplesSoftware Engineering, Structured SoftwareDesign, Programming, Video Design

Other Skills DesirableCommunications, Writing, Presentation, Manage-ment, Graphics Arts, Color, Traditional Animation

Educational Levels SoughtB.S., B.A., B.F.A., M.S., M.A., M.F.A.

Educational Background DesirableArt, Electrical Engineering, Computer Science,Mathematics

Types of PositionsFull & Part time, Contractor

Dubner Computer Systems, Inc.6 Forest Ave.

Paramus, NJ 07652

ContactJoAnn Amplo

Company Area of InterestArt & Animation, Presentation Graphics, ImageProcessing, Systems Design, Systems Software

Specific Computer Graphics Experience DesirableComputer Graphics Fundamentals, Raster Graph-ics Techniques, Video Graphics Techniques,Vector Graphics Techniques, 2D/3D ComputerGraphics, 2D/3D Animation, Image RenderingTechniques, Image Shading Techniques, Ray Trac-ing, Z-Buffer, Wireframe, Solid Modeling, SolidGeometry, Boundary Representation, FreeformCurves & Surfaces, Spline Algorithms and Tech-niques



C, AssemblyOperating Systems

UNIXPrinciples

Software Engineering, Hardware Engineer-ing, Digital Logical Design, Video Design,Bit-Slice Design, Microcomputer Systems De-sign, 32-bit Microcomputer SystemsDesign, Structured Software Design,Programming, Data Structures

Other Skills DesirableCommunications, Writing, Management, Tradi-tional Animation

Educational Levels SoughtB.S., B.A., B.F.A., M.S., M.A., M.F.A., Ph.D., 2Year Associates Degree, Technical InstituteDegree

Educational Background DesirableArt, Business Administration, Mechanical Engi-neering, Electrical Engineering, ComputerScience, Mathematics

Types of PositionsFull & Part time, Summer


Evans & Sutherland Computer Corporation600 Komas Drive

Salt Lake City, Utah 84108

ContactAlan K. Bakke; Human Resources

Company Area of InterestCAD/CAM, CAE/CIM, Simulation, Image Pro-cessing, Systems Design, Systems Hardware

Specific Computer Graphics Experience DesirableComputer Graphics Fundamentals, Raster Graph-ics Techniques, Vector Graphics Techniques, 2D/3D Computer Graphics, 2D/3D Animation, ImageRendering Techniques, Image Shading Techniques,Ray Tracing, Wireframe, Solid Modeling, SolidGeometry, Boundary Representation, FreeformCurves & Surfaces, Spline Algorithms & Tech-niques, CAD, CAE


Graphics Standards ExperienceGKS, PHIGS


C, FORTRAN 77, ADA, LISP,PASCAL, Assembly


PrinciplesSoftware Engineering, Hardware Engineer-ing, Digital Logical Design, VLSI Design,ASIC Design, Bit-Slice Design, StructuredSoftware Design, Programming, Data Struc-tures

Other Skills DesirableCommunications, Writing, Presentation, GraphicsArts, Color

Educational Levels SoughtB.S., B.A., M.S., M.A., Ph.D.

Educational Background DesirableElectrical Engineering, Computer Science,Mathematics


GTCO Corporation7125 Riverwood Drive

Columbia, Maryland 21046

ContactLeslie Muller

Company Area of InterestArt and Animation, Advertising, CAD/CAM, CAE/CIM, Presentation Graphics, Simulation, ImageProcessing, Systems Design, Systems Software,Systems Hardware

Specific Computer Graphics Experience Desirable

CAD



Operating SystemsOperating Systems in General

Other Skills DesirableSoftware Engineering, Programming, Communi-cations, Hardware Engineering, Digital LogicalDesign, ASIC Design, 8-Bit Microcomputer Sys-tems Design

Non-Computer Skills Necessary to your CompanyCommunications, Writing, Management, Graph-ics Arts

Educational Levels SoughtB.S., B.A., 2 year Associates Degree, TechnicalInstitute Degree

Educational Background DesiredLiberal Arts, Business Administration, Mechani-cal Engineering, Engineering - General, ComputerScience

Types of Positions

Full time, Part time, Summer


Gretag Image Systems1301 Armstrong Drive

Titusville, Florida 32780

ContactMarcial Vidal

Company Area of InterestSimulation, Image Processing, Systems Design,Systems Hardware

Specific Computer Graphics Experience DesirableRaster Graphics Techniques, Video Graphics Tech-niques

Graphics Standards ExperienceGKS, NAPLPS

Other Skills DesirableAnalog Video Projection Equipment, DSP

Educational Levels SoughtB.S.

Educational Background DesirableNone Listed


Hewlett-Packard CompanyGraphics Technology Division

3404 E. Harmony RoadFt. Collins, Colorado 80525

ContactJohnette Knaus, Site Staffing ManagerDoug Scheiwe, MS 74

Company Area of InterestCAD/CAM, CAE/CIM, Presentation Graphics,Simulation, Image Processing, Systems Design,Systems Software, Systems Hardware

Specific Computer Graphics Experience DesirableComputer Graphics Fundamentals, Raster Graph-ics Techniques, Video Graphics Techniques,Vector Graphics Techniques, 2D/3D ComputerGraphics, Image Rendering Techniques, ImageShading Techniques, Ray Tracing, Z-Buffer,Wireframe, Solid Modeling, Freeform Curves &Surfaces, Spline Algorithms & Techniques, CAD/CAM/CAE/CIM


Graphics Standards ExperienceCORE, GKS, CGM, CGI, PHIGS


C, FORTRAN 77, APL, PASCAL, AssemblyOperating Systems

Operating Systems in General, UNIX, VMS,DOS, MS DOS, OS/2

PrinciplesSoftware Engineering, Hardware Engineer-ing, Communications, Digital Logical Design,Video Design, VLSI Design, ASIC Design,Microcomputer Systems Design, 8/16/32-bitMicrocomputer Systems Design, StructuredSoftware Design, Programming, Data Struc-tures

Other Skills DesirableCommunications, Writing, Public Speaking, Pre-sentation, Management


Educational Background DesirableBusiness Administration, Electrical Engineering,Computer Science, Mathematics, Physics

Types of PositionsFull & Part time, Summer, Student Co-op Program


Ikegami Electronics (USA), Inc.37 Brook Avenue

Maywood, New Jersey 07607

ContactRaymond J. Sooley, DirectorSales and MarketingDisplay Monitor Division

Company Area of InterestPeripheralsDisplay Monitors

Specific Computer Science Skills DesirableHardware EngineeringMechanical Engineering

Other Skills DesirableCommunicationsWriting, PresentationManagement

Educational Background DesirableMechanical Engineering,Electrical EngineeringGeneral Engineering


Integrated Computer Solutions163 Harvard Street

Cambridge, MA 02139

ContactSarah Lummus

Company Area of InterestCAD/CAM/CAE/CIM, Presentation Graphics, Sys-tems Software

Specific Computer Graphics Experience DesirableComputer Graphics Fundamentals

Graphics Standards ExperienceGKS, PHIGS, X Window System & Extensions


LanguagesC


PrinciplesSoftware Engineering, Programming, DataStructures

Other Skills DesirableCommunications, Writing, Public Speaking, Pre-sentation, Training, Consulting


Educational Background DesirableLiberal Arts, General Engineering, Computer Sci-ence, Mathematics

Types of PositionsFull time, Summer, Student Co-op Program


Intelligent Light, Inc.P.O. Box 65

Fair Lawn, NJ 07410

ContactJeanne Mara

Company Area of InterestArt & Animation, CAD/CAM, CAE/CIM, Simu-lation, Systems Software

Specific Computer Graphics Experience DesirableComputer Graphics Fundamentals, Raster Graph-ics Techniques, Video Graphics Techniques,Vector Graphics Techniques, 3D Animation, Im-age Rendering Techniques, Image Shading Tech-niques, Ray Tracing, Z-Buffer, Solid Modeling,Solid Geometry, Boundary Representation,Freeform Curves & Surfaces, Spline Algorithms &Techniques, CAD, CAE


Graphics Standards ExperiencePHIGS, DORE’


C, FORTRAN 66, FORTRAN 77, PASCALOperating Systems

Operating Systems in General, UNIXPrinciples

Software Engineering, Programming, DataStructures

Other Skills DesirableCommunications, Writing, Public Speaking, Man-agement, Graphics Arts, Layout, Color, Tradi-tional Animation

Educational Levels SoughtB.S., B.A., Technical Institute Degree

Educational Background DesirableArt, Liberal Arts, Business Administration, Me-chanical Engineering, General Engineering, Com-puter Science, Mathematics, Physics

Types of PositionsFull & Part time, Summer, Student Co-op Program,Contractor, Consultant, Faculty Sabbatical Pro-gram, Work Sharing

Intergraph CorporationOne Madison Industrial Park

Huntsville, Alabama 35807-4201

ContactBeverly Staley, LR23B4

Company Area of InterestArt & Animation, CAD/CAM, CAE/CIM, Presen-tation Graphics, Simulation, Image Processing,Systems Design, Systems Software, Systems Hard-ware

Specific Computer Graphics Experience DesirableComputer Graphics Fundamentals, Raster Graph-ics Techniques, Video Graphics Techniques, Vec-tor Graphics Techniques, 2D/3D Computer Graph-ics, 2D/3D Animation, Image Rendering Tech-niques, Image Shading Techniques, Ray Tracing,Z-Buffer, Wireframe, Solid Modeling, Solid Ge-ometry, Boundary Representation, Freeform Curves& Surfaces, Spline Algorithms & Techniques, CAD/CAM/CAE/CIM


Graphics Standards ExperienceCORE, GKS, CGM, CGI, PHIGS, NAPLPS,IGES, OSF/Motif (X Windows)


C, AI Languages, AssemblyOperating Systems

Operating Systems in General, UNIX, VMSPrinciples

Software/Hardware Engineering, Digital/Video/VLSI /ASIC Design, 32-bit Microcom-puter Systems Design, Structured S/W De-sign, Programming, Data Structures

Other Skills DesirableCommunications, Writing, Public Speaking, Pre-sentation, Management, Graphics Arts, LayoutExperience, Color, Drafting

Educational Levels SoughtB.S., M.S., Ph.D., 2 Year Associates Degree, Tech-nical Institute Degree

Educational Background DesirableChemical/Civil/Mechanical/Elec. Engineering,Computer Science, Mathematics, Physics

Types of PositionsFull & Part time, Summer, Student Co-op Program,Consultant


Ithaca Software1001 Marina Village Parkway

Alameda, CA 94501

ContactCarol Lagerstrom

Company Area of InterestSystems Software

Specific Computer Graphics Experience DesirableComputer Graphics Fundamentals, Raster Graph-ics Techniques, Video Graphics Techniques, Vec-tor Graphics Techniques, 2D/3D Computer Graph-ics, Image Rendering Techniques, Image ShadingTechniques, Ray Tracing, Z-Buffer, Wireframe,Solid Modeling, Solid Geometry, Boundary Rep-resentation, Freeform Curves & Surfaces, SplineAlgorithms & Techniques


Graphics Standards ExperienceOther, unspecified


COperating Systems

Operating Systems in General, UNIX, DOS,VMS, MVS, MS DOS, OS/2


Other Skills DesirableCommunications, Writing

Educational Levels SoughtB.S., B.A., M.S., Ph.D.

Educational Background DesirableComputer Science


James Grundar & Associates, Inc.5925 Beverly

Mission, KS 66202

ContactJames Grundar, President

Company Area of InterestAdvertising, Presentation Graphics, ImageProcessing, Systems Hardware

Specific Computer Graphics Experience DesirableVideo Graphics Techniques, CAD

Specific Computer Science Skills DesirableOperating Systems in General, DOS

Other Skills DesirableCommunications, Writing, Presentation

Educational Levels SoughtB.S., B.A., M.A.

Educational Background DesirableBusiness Administration, Mechanical Engineer-ing, Electrical Engineering, General Engineering



Magni Systems, Inc.9500 SW Gemini DriveBeaverton, OR 97005

ContactPatricia Kostol, Administration Manager

Company Area of InterestVideo Graphics Hardware Design

Specific Computer Graphics Experience DesirableComputer Graphics Fundamentals, Video Graph-ics Techniques


Operating SystemsMS DOS

PrinciplesSoftware Engineering, Hardware Engineer-ing, Video Design

Other Skills DesirableCommunications, Presentation, TraditionalAnimation

Educational Levels SoughtB.S., B.A., M.S., M.A.

Educational Background DesirableElectrical Engineering, Computer Science


KMW Systems Corporation6034 West Courtyard Drive

Austin, TX 78730-5014

ContactSheryl Phillips or Personnel


Specific Computer Graphics Experience DesirableComputer Graphics Fundamentals, Raster Graph-ics Techniques, Vector Graphics Techniques,Image Rendering Techniques, Image Shading Tech-niques, Z-Buffer, Spline Algorithms and Tech-niques, CAD


LanguagesC, FORTRAN 66, FORTRAN 77, PASCAL,COBOL, SNOBOL, Assembly

Operating SystemsUNIX, VMS

PrinciplesSoftware Engineering, Hardware Engineer-ing, Communications, Digital Logical Design,Bit-Slice Design, Structured Software Design,Programming

Other Skills DesirableCommunications, Writing, Public Speaking, Pre-sentation, Management, Layout Experience, Draft-ing

Educational Levels SoughtB.S., B.A., M.S., M.A., 2 Year Associates Degree,Technical Institute Degree

Educational Background DesirableBusiness Administration, Electrical Engineering,General Engineering, Computer Science, Mathematics

Types of PositionsFull & Part time, Contractor, Work Sharing


Management Graphics, Inc.1401 E. 79th Street

Minneapolis, MN 55425

ContactPersonnel

Company Area of InterestArt & Animation, Advertising, Presentation Graph-ics, Image Processing, Systems Design, SystemsSoftware, Systems Hardware

Specific Computer Graphics Experience DesirableComputer Graphics Fundamentals, Raster Graph-ics/Video Graphics/Vector Graphics Techniques,2D/3D Computer Graphics, 2D/3D Animation,Image Rendering, Image Shading, Wireframe,Boundary Representation, Freeform Curves &Surfaces, Spline Algorithms & Techniques


Graphics Standards ExperienceGKS, CGM, CGI, PHIGS



Operating Systems in General, UNIX, VMS,MS DOS, OS/2, Apple Macintosh Finder

PrinciplesSoftware/Hardware Engineering, Digital Logi-cal/Video/VLSI/ASIC/Bit-Slice Design, 16/32-bit Microcomputer Systems Design, Struc-tured Software Design, Programming, DataStructures, Graphics Processor Display Boards,Graphics Rasterizer Boards

Other Skills DesirableCommunications, Writing, Public Speaking, Pre-sentation, Management, Graphics Arts, LayoutExperience, Color, Traditional Animation, Mar-keting, Sales, Telemarketing

Educational Levels SoughtB.S., B.A., B.F.A., M.S., Ph.D., 2 Year AssociatesDegree, Technical Institute Degree

Educational Background DesirableArt, Business Administration, Mechanical/Electri-cal Engineering, Computer Science, Mathematics,Physics

Types of PositionsFull & Part time, Summer, Student Co-op Program,Contractor, Consultant

mental imagesGmbH & Co. KG

Rankestrasse 9 D-1000 Berlin 30

ContactRolf Herken, President

Company Area of InterestArt & Animation, CAD/CAM, CAE/CIM, Simu-lation, Systems Design, Systems Software

Specific Computer Graphics Experience Desirable3D Computer Graphics, 3D Animation, ImageRendering Techniques, Freeform Curves and Sur-faces, CAD

Graphics Standards ExperiencePHIGS, X Windows

Unique SkillsExperienced Wavefront Software User, Experi-ence Graphics Programmer


LanguagesC, C++, LISP

Operating SystemsUNIX

PrinciplesSoftware Engineering, Programming

Other Skills DesirableGraphics Arts, Color

Educational Levels SoughtM.S., Ph.D.

Educational Background DesirableArt, Computer Science, Mathematics, Physics



Mercury Computer Systems, Inc.600 Suffolk Street

Lowell, MA 01854

ContactPersonnel

Company Area of InterestImage Processing, Systems Design, SystemsSoftware

Specific Computer Science Skills

Operating Systems in General

PrinciplesSoftware Engineering, 32-bit MicrocomputerSystems Design, Hardware Engineering

Other Skills DesirableCommunications

Educational Levels SoughtB.S., M.S., Technical Institute Degree

Educational Background DesirableMechanical Engineering, Electrical Engineering,General Engineering, Computer Science, Math-ematics

Types of PositionsFull time, Summer, Student Co-op Program,Consultant

Metheus Corporation5510 N.E. Elam Young Parkway

Hillsboro, OR 97124

ContactKarla Vecchiet

Company Area of InterestAnimation, CAD/CAM, CAE/CIM, PresentationGraphics, Simulation, Image Processing, SystemsDesign, Systems Software, Systems Hardware

Specific Computer Graphics Experience DesirableComputer Graphics Fundamentals, Raster Graph-ics Techniques, Video Graphics Techniques, Vec-tor Graphics Techniques, 2D/3D Computer Graph-ics, 2D/3D, Animation, Image Rendering Tech-niques, Image Shading Techniques, Z-Buffer, Wire-Frame, Solid Modeling, Solid Geometry, Bound-ary Representation, Freeform Curves and Surfaces,Spline Algorithms and Techniques, CAD/CAM/CAE/CIM


Graphics Standards ExperienceCORE, GKS, CGM, CGI, PHIGS



Operating Systems in General, UNIX, VMSPrinciples

Software Engineering, Hardware Engineer-ing, Digital Logical Design, ASIC Design,Bit-Slice Design, 8/16/32-bit , MicrocomputerSystems Design, Structured Software Design,Programming, Data Structures



Educational Background DesirableBusiness Administration, Mechanical Engineer-ing, Electrical Engineering, Enginerring, General,Computer Science

Types of PositionsFull & Part time, Summer, Student Co-op Program,Contractor, Consultant


Microfield Graphics, Inc.9825 S.W. Sunshine Ct., A-1

Beaverton, OR 97005

ContactKaren Wilson

Company Area of InterestCAD/CAM, CAE/CIM, Systems Design, SystemsSoftware, Systems Hardware

Specific Computer Graphics Experience DesirableComputer Graphics Fundamentals, Raster Graph-ics Techniques, Video Graphics Techniques, Vec-tor Graphics Techniques, 2D/3D Computer Graph-ics, Image Rendering Techniques, Z-Buffer,Wireframe, Boundary Representation, FreeformCurves & Surfaces, Spline Algorithms and Tech-niques, CAD, CAE, CIM


Graphics Standards ExperienceCGI, PHIGS, X Windows, Motif


C, FORTRAN 77, AssemblyOperating Systems

UNIX, MS DOS, OS/2Principles

Software Engineering, Hardware Engineer-ing, Communications, Digital Logical Design,Video Design, VLSI Design, ASIC Design,Bit-Slice Design, Microcomputer SystemsDesign, 16/32-bit Microcomputer SystemsDesign, Programming, Data Structures

Other Skills DesirableCommunications, Writing, Presentation, Manage-ment, Graphics Arts,Color

Educational Levels SoughtB.S., M.S., Ph.D., Technical Institute Degree

Educational Background DesirableElectrical Engineering, Computer Science, Math-ematics, Physics

Types of PositionsFull & Part time, Contractor, Consultant

Monitronix Inc.929 Eastwind Drive, Suite 220

Westerville, Ohio 43081

ContactLinda Chamberlain



PrinciplesHardware Engineering

Other Skills DesirableCommunications, Writing, Presentation,Management, Drafting

Educational Levels SoughtB.S., M.S., Ph.D., Technical Institute Degree

Educational Background DesirableBusiness Administration, Electrical Engineering,General Engineering



NASAGoddard Space Flight Center

Greenbelt, MD 20771

ContactPersonnel Management Branch, Code 111

Company Area of InterestPresentation Graphics, Image Processing, SystemsDesign, Systems Software, Scientific Visualiza-tion

Specific Computer Graphics Experience DesirableRaster Graphics Techniques, Vector Graphics Tech-niques, 2D/3D Computer Graphics, Image Render-ing Techniques, Image Shading Techniques, RayTracing, Wireframe, Solid Modeling, Solid Geom-etry, Volumetric Rendering


Graphics Standards ExperienceCORE, PHIGS, Other


LanguagesC, C++, FORTRAN 77,


PrinciplesSoftware Engineering, Structured SoftwareDesign, Programming, Data Structures,DBMS, Numerical/Statistical Analysis

Other Skills DesirableCommunications, Writing, Earth and SpaceSciences, Physics, Mathematics


Educational Background DesirableElectrical Engineering, General Engineering, Com-puter Science, Mathematics, Physics

Types of PositionsFull & Part time, Summer, Student Co-op Program,Contractor

Nth Graphics1807-C West Braker Lane

Austin, Texas 78758

ContactDr. Fred Hudson

Company Area of InterestCAD/CAM/CAE, Image Processing, Systems Soft-ware, Systems Hardware, Scientific Visualization

Specific Computer Graphics Experience DesirableComputer Graphics Fundamentals, Raster Graph-ics Techniques, 2D/3D Computer Graphics, ImageRendering Techniques, Image Shading Techniques,Ray Tracing, Z-Buffer, Wireframe, Solid Model-ing, Solid Geometry, Boundary Representation,Freeform Curves & Surfaces, Spline Algorithms &Techniques

Shading PrinciplesConstant, Gouraud, Phong, Alpha Blending

Graphics Standards ExperiencePHIGS, HOOPS, GL


C, Assembly, X-WindowsOperating Systems

Operating Systems in General, PM

PrinciplesSoftware Engineering, Hardware Engineer-ing, Structured Software Design, Program-ming, Data Structures





University of Oldenburg


1734 W. Sam Houston Parkway N.Houston, Texas 77043

ContactAnthony G. Masraff



Graphics Standards ExperienceGKS, CGI, PHIGS, X-Windows


C, Assembly


PrinciplesSoftware Engineering, Hardware Engineer-ing, Digital Logical Design, Video Design

Other Skills DesirableCommunications, Management Potential




Pansophic Systems, Inc.

P.O. Box 2503D-2900 Oldenburg West Germany

ContactProfessor P.H. Gorny, Ph.D.Computer Graphics Group

Company Area of InterestCAD/CAM/CAE/CIM, Presentation Graphics,Simulation, Image Processing, Systems Design,Systems Software

Specific Computer Graphics Experience DesirableComputer Graphics Fundamentals, Raster Graph-ics Techniques, Vector Graphics Techniques, 2D/3D Computer Graphics, 2D Animation, ImageRendering Techniques, Image Shading Techniques,Ray Tracing, Solid Modeling, Solid Geometry,Boundary Representation, Freeform Curves &Surfaces, Spline Algorithms and Techniques



LanguagesC, LISP, PASCAL

Operating SystemsUNIX, DOS, VMS, MS DOS, OS/2

PrinciplesStructured Software Design, Programming,Data Structures

Other Skills DesirableCommunications, Writing, Public Speaking, Pre-sentation, Layout Experience, Color

Educational Levels SoughtM.S.

Educational Background DesirableElectrical Engineering, General Engineering, Com-puter Science, Mathematics, Psychology


Omnicomp Graphics Corporation


2400 Cabot DriveLisle, IL 60532

ContactRon Gruenberg

Company Area of InterestArt & Animation, Presentation Graphics, ImageProcessing, Systems Design

Specific Computer Graphics Experience DesirableComputer Graphics Fundamentals, Raster Graph-ics Techniques, Video Graphics Techniques,Vector Graphics Techniques, 2D/3D ComputerGraphics, 2D/3D Animation, Image RenderingTechniques, Image Shading Techniques, Z-Buffer,Wireframe, Spline Algorithms & Techniques

Shading PrinciplesPhong

Graphics Standards ExperienceGKS, CGM, IGES


C, LISP, COBOL, AssemblyOperating Systems

Operating Systems in General, UNIX, DOS,MS DOS, OS/2

PrinciplesVideo Design, Structured Software Design,Programming

Other Skills DesirableCommunications, Writing, Public Speaking, Pre-sentation, Management, Graphics Arts, LayoutExperience, Color, Traditional Animation

Educational Levels SoughtB.S., B.A., B.F.A.

Educational Background DesirableArt, Liberal Arts, Electrical Engineering, GeneralEngineering, Computer Science


Perceptics CorporationP.O. Box 22991

725 Pellissippi CenterKnoxville, TN 37933-0991

ContactJim Disney

Company Area of InterestImage Processing, Systems Design, Pattern Rec-ognition, Artificial Intelligence, Optical Mass Stor-age, Image Management Systems

Specific Computer Graphics Experience DesirableComputer Graphics Fundamentals, Video Graph-ics Techniques, Vector Graphics Techniques, 2DComputer Graphics

Shading PrinciplesConstant Shading


LanguagesC, FORTRAN, PASCAL, PROLOGUE,Assembly

Operating SystemsOperating Systems in General, UNIX, VMS,MAC OS, SUN/SUN OS

PrinciplesSoftware Engineering, Digital Logical De-sign, 16/32-bit Structured Software Design,Data Structures


Educational Levels SoughtB.S., M.S., Ph.D., 2 Year Associates Degree, Tech-nical Institute Degree


Types of PositionsFull time and Part time, Summer, Contractor,Consultant


Pontificia Universidade Catolicado Rio de Janeiro Design

Rua Marques de Sao Vincente225 - D.Artes, Gavea Rio de Janeiro, RJ

22453 Brasil

ContactRicardo Richers

Company Area of InterestArt & Animation, CAD/CAM, CAE/CIM, Presen-tation Graphics, Simulation, Image Processing

Specific Computer Graphics Experience DesirableComputer Graphics Fundamentals, Video Graph-ics Techniques, 2D/3D Computer Graphics, 2D/3D Animation, Image Rendering Techniques, Im-age Shading Techniques, Wireframe, Solid Model-ing, Solid Geometry, CAD

Graphics Standards ExperienceGKS


LanguagesC, PASCAL, COBOL

Operating SystemsMS DOS

PrinciplesProgramming, Communications

Other Skills DesirableCommunications, Graphics Arts, Layout Experi-ence, Color, Traditional Animation

Educational Levels SoughtB.S., B.A.

Educational Background DesirableArt, Liberal Arts, Computer Science

Types of PositionsPart time, Student Co-op Program, Consultant

The Post Group6335 Homewood AvenueHollywood, CA 90028

ContactJoe Gareri, Graphics Department

Company Area of InterestArt & Animation, Image Processing, SystemsDesign, Systems Software

Specific Computer Graphics Experience DesirableComputer Graphics Fundamentals, Video Graph-ics Techniques, 2D/3D Computer Graphics, 2D/3D Animation, Image Rendering Techniques, SolidModeling

Unique Skills

Art Direction, Project Planning and Coordina-tion, Quantel Paintbox, Wavefront Technologies,Silicon Graphics, Video Production Operations


LanguagesC, PASCAL

Operating SystemsUNIX, HP RTE-A


Other Skills DesirableCommunications, Writing, Presentation, Manage-ment, Graphics Arts, Color, System assembly fromoff the shelf components

Educational Levels SoughtB.S., B.A., B.F.A., M.S., M.A., M.F.A.


Types of PositionsFull time & Part time, Summer, Student Co-opProgram, Contractor, Consultant


PRIOR Data Sciences240 Michael Cowpland DriveKananta, Ontario K2M 1P6

ContactPersonnel


Specific Computer Graphics Experience DesirableComputer Graphics Fundamentals, Vector Graph-ics Techniques

Graphics Standards ExperienceGKS, CGM, PHIGS


LanguagesC

Operating SystemsUNIX, VMS

PrinciplesSoftware Engineering, Structured SoftwareDesign, Programming

Other Skills DesirableCommunications, Writing



Types of PositionsFull time, Student Co-op Program

Production Samboo78-9-10 Chungdam-Dong Kangnam-Gu

Seoul, KOREA

ContactKocoa Lab

Company Area of InterestArt & Animation, Advertising


LanguagesC

PrinciplesVideo Design

Educational Levels SoughtM.A., Technical Institute Degree

Educational Background DesirableArt

Types of PositionsPart time, Summer


QMS, Inc.One Magnum PassMobile, AL 36618

ContactHuman Resources Department

Company Area of InterestAdvertising, CAD/CAM, CAE/CIM, PresentationGraphics, Image Processing, Systems Design, Sys-tems Software, Systems Hardware

Specific Computer Graphics Experience DesirableComputer Graphics Fundamentals, Raster Graph-ics Techniques, Video Graphics Techniques, Vec-tor Graphics Techniques, 2D Animation, ImageRendering Techniques, Image Shading Techniques,CAD/CAM/CAE



UNIX, DOS, VMS, MS DOS, OS/2Principles

Software Engineering, Hardware Engineer-ing, Digital Logical Design, Video Design,VLSI Design, ASIC Design, Bit-Slice Design,Microcomputer Systems Design, 8/16/32-bitMicrocomputer Systems Design, StructuredSoftware Design, Programming, Data Struc-tures

Other Skills DesirableCommunications, Writing, Presentation, Manage-ment, Graphics Arts, Layout Experience, Color,Drafting, Technical Illustration, Technical Writing

Educational Levels SoughtB.S., B.A., B.F.A., M.S., M.A., Ph.D., TechnicalInstitute Degree

Educational Background DesirableArt, Liberal Arts, Business Administration, Elec-trical Engineering, General Engineering, ComputerScience, Mathematics, Physics


Sigmasoft and Systems17000 Dallas Parkway, Suite 207

Dallas, TX 75248

ContactClay D. Montgomery

Company Area of InterestCAD/CAM, CAE/CIM, Simulation, Image Pro-cessing, Systems Design, Systems Software, Sys-tems Hardware

Specific Computer Graphics Experience DesirableComputer Graphics Fundamentals, Raster Graph-ics Techniques, Video Graphics Techniques, 2D/3D Computer Graphics, Z-Buffer, Wireframe,Spline Algorithms & Techniques, CAD

Graphics Standards ExperienceCGM, CGI, PHIGS



Operating SystemsOperating Systems in General, UNIX, DOS,MS DOS, CP/M 68K

PrinciplesSoftware Engineering, Hardware Engineer-ing, Digital Logical Design, Video Design,ASIC Design, Bit-Slice Design, Microcom-puter Systems Design, 32-bit MicrocomputerSystems Design, Structured Software Design,Programming, Data Structures

Other Skills DesirableCommunications, Writing, Presentation, Techni-cal Sales




SOFTIMAGE Inc.3510 boul. St-Laurent, Suite 214

Montreal, Quebec H2X2V2 CANADA

ContactPersonnel


Specific Computer Graphics Experience DesirableRaster Graphics Techniques, Video Graphics Tech-niques, 2D/3D Computer Graphics, 3D Anima-tion, Image Rendering Techniques, Image ShadingTechniques, Ray Tracing, Z-Buffer, Wireframe,Solid Modeling, Spline Algorithms & Techniques,CAD


Graphics Standards ExperienceIGES


LanguagesC


PrinciplesSoftware Engineering, Programming

Other Skills DesirableCommunications, Writing, Traditional Animation


Educational Background DesirableBusiness Administration, Computer Science

Types of PositionsFull time, Contractor

SOGITEC Paris32 Boulevard De La Republique

92100 Boulogne, FRANCE

ContactStephane Metz, Dominique Tain

Company Area of InterestArt & Animation, Advertising, CAD/CAM, CAE/CIM, Flight Simulation, Real Time Systems Soft-ware, Real Time Systems Hardware

Specific Computer Graphics Experience DesirableRaster Graphics Techniques, Video Graphics Tech-niques, 2D/3D Computer Graphics, 3D Anima-tion, Image Rendering Techniques, Z-Buffer, CAD,CAM




PrinciplesSoftware Engineering, Hardware Engineer-ing, 32-bit Microcomputer Systems Design,Structured Software Design

Other Skills DesirableGraphic Arts

Educational Background DesirableArt



StereoGraphics Corporation2171-H E. Francisco Blvd.

San Rafael, CA 94901

ContactDave Holbrook, Director of Marketing

Company Area of InterestArt & Animation, CAD/CAM, CAE/CIM, Simu-lation, Image Processing, Systems Design, Sys-tems Software, Systems Hardware

Specific Computer Graphics Experience DesirableComputer Graphics Fundamentals, Raster Graph-ics Techniques, Video Graphics Techniques, Vec-tor Graphics Techniques, 3D Computer Graphics,3D Animation, Image Rendering Techniques, Im-age Shading Techniques, Ray Tracing, Z-Buffer,Wireframe, Solid Modeling, Solid Geometry,Boundary Representation, Freeform Curves &Surfaces, Spline Algorithms & Techniques, StereoImaging and Interface, CAD/CAM/CAE/CIM


Graphics Standards ExperienceCORE, GKS, CGM, CGI, PHIGS, NAPLPS,IGES, X, Motif, NextStop


C, C++, AssemblyOperating Systems

UNIX, MS DOS, MacintoshPrinciples

Software Engineering, Hardware Engineer-ing, Video Design, 16/32-bit MicrocomputerSystems Design, Structured Software Design,Programming, Data Structures

Other Skills DesirableCommunications, Writing, Public Speaking, Pre-sentation, Graphics Arts




SummaGraphics Corporation60 Silvermine RoadSeymour, CT 06483

ContactSusan Burns

Company Area of InterestArt & Animation, CAD/CAM/ CAE/CIM, Presen-tation Graphics

Specific Computer Graphics Experience DesirableComputer Graphics Fundamentals, CAD/CAM/CAE/CIM


Operating SystemsOperating Systems in General, UNIX, DOS,MS DOS, OS/2

PrinciplesSoftware Engineering, Hardware Engineer-ing, Bit-Slice Design, 8/16/32-bit Microcom-puter Systems Design, Programming, Com-munications

Other Skills DesirableCommunications, Writing, Presentation, Manage-ment, Drafting

Educational Levels SoughtB.S., B.A., B.F.A., M.S., M.A., M.F.A., Ph.D., 2Year Associates Degree, Technical Institute De-gree

Educational Background DesirableBusiness Administration, Mechanical Engineer-ing, Electrical Engineering, General Engineering,Computer Science, Mathematics



Tech-Source442 S. North Lake Blvd., Suite 1008

Altamonte Springs, FL 32701

ContactMichael Tobias


Specific Computer Graphics Experience DesirableComputer Graphics Fundamentals, Raster Graph-ics Techniques, 2D/3D Computer Graphics, ImageRendering Techniques

Graphics Standards ExperienceGKS, PHIGS, X Windows




PrinciplesSoftware Engineering, Hardware Engineer-ing, Video Design, VLSI Design, ASIC De-sign, Bit-Slice Design, Structured SoftwareDesign, Programming, Data Structures



Educational Background DesirableMechanical Engineering, Electrical Engineering,Computer Science, Mathematics


Thomson Digital Image22 rue Heyersippe Moreau

Paris, FRANCE 75018

Contact

Company Area of InterestArt & Animation, CAD/CAM, CAE/CIM, Systems Design

Specific Computer Graphics Experience DesirableComputer Graphics Fundamentals, Raster Graph-ics Techniques, Video Graphics Techniques, 3DComputer Graphics, 3D Animation, Image Ren-dering Techniques, Image Shading Techniques,Ray Tracing, Z-Buffer, Solid Modeling, Solid Ge-ometry, Boundary Representation, Freeform Curves& Surfaces, Spline Algorithms & Techniques, CAD


Graphics Standards ExperiencePHIGS, IGES


LanguagesC



Other Skills DesirableCommunications, Management, Traditional Ani-mation


Types of PositionsFull time, Student Co-op Program


Time Arts Inc.1425 Corporate Center Parkway

Santa Rosa, CA 95407

ContactScott A. GrossVice President of Engineering

Company Area of InterestArt & Animation, Advertising, CAD/CAM, CAE/CIM, Presentation Graphics, Simulation, ImageProcessing, Systems Software

Specific Computer Graphics Experience DesirableComputer Graphics Fundamentals, Raster Graph-ics Techniques, Video Graphics Techniques, Vec-tor Graphics Techniques, 2D/3D Computer Graph-ics, 2D/3D Animation, Image Rendering Tech-niques, Image Shading Techniques, Ray Tracing,Wireframe, Solid Modeling, Solid Geometry,Boundary Representation, Freeform Curves &Surfaces, Spline Algorithms & Techniques, CAD,I/O Device Support





Operating Systems in General, UNIX, DOS,MS DOS, MAC OS


Other Skills DesirableCommunications, Writing, Management, Graph-ics Arts, Layout Experience,Color, TraditionalAnimation




TOSHIBA America Electronic Components, Inc.One Parkway North, Suite 500

Deerfield, IL 60015-2547

ContactJill MacFayden

Company Area of InterestNone listed

Specific Computer Graphics Experience DesirableNone listed

Specific Computer Science Skills DesirableNone listed

Other Skills DesirableCommunications, Public Speaking, Presentation,Management

Educational Levels SoughtB.S., B.A., M.B.A.

Educational Background DesirableElectrical Engineering, General Engineering



Vertigo Systems International, Inc.221 - 119 W. Pender Street

Vancouver, B.C. V6B 1S5 CANADA

ContactWendy Wright

Company Area of InterestAnimation, Solid Modeling, Image Processing,Systems Design, Systems Software, Systems Hard-ware

Specific Computer Graphics Experience DesirableComputer Graphics Fundamentals, Raster Graph-ics Techniques, Video Graphics Techniques, Vec-tor Graphics Techniques, 2D/3D Computer Graph-ics, 2D/3D Animation, Image Rendering Tech-niques, Image Shading Techniques, Ray Tracing,Z-Buffer, Wire-Frame, Solid Modeling, FreeformCurves and Surfaces, Spline Algorithms and Tech-niques


Graphics Standards ExperienceCORE, GKS



Operating Systems in General, UNIXPrinciples

Software Engineering, Hardware Engineer-ing, 32-bit, Microcomputer Systems Design,Structured Software Design, Programming,Data Structures, Frame Buffer/Video Design,Multiprocessing Architecture

Other Skills DesirableCommunications, Writing, Management, Graph-ics Arts, Traditional Animation

Educational Levels SoughtB.S., B.A., M.S., Ph.D., Technical Institute Degree

Educational Background DesirableArt - all forms, Electrical Engineering, ComputerScience, Mathematics, Physics

Types of Positions

Vectrix Corporation204 So. Olive

Rolla, MO 65401

ContactPersonnel


Specific Computer Graphics Experience DesirableComputer Graphics Fundamentals, Raster Graph-ics Techniques, Video Graphics Techniques, 2D/3D Image Rendering Techniques, Image ShadingTechniques, Ray Tracing, Z-Buffer, Wireframe,Solid Modeling, Solid Geometry, Boundary Rep-resentation, Freeform Curves & Surfaces

Graphics Standards ExperienceCGI, TIGA, PHIGS, HOOPS




PrinciplesSoftware Engineering, Video Design, Bit-SliceDesign, 16/32-bit Microcomputer SystemsDesign, Programming

Other Skills DesirableCommunications, Management





Full time, Student Co-op Program, ConsultantVideosmith, Inc.

2006 Chancellor StreetPhiladelphia, PA 19103

ContactPat Crowley

Company Area of InterestArt & Animation, Advertising

Specific Computer Graphics Experience DesirableComputer Graphics Fundamentals, Raster Graph-ics Techniques, Video Graphics Techniques, 2Dand 3D Computer Graphics, Wireframe, SolidModeling



LanguagesC

Other Skills DesirableCommunications, Writing, Public Speaking, Graph-ics Arts, Color

Unique SkillsVideo Technology1" Beta Tape FormatsAbility to Read Waveforms and Vector Scopes

Educational Levels SoughtB.A., 2 Year Associates Degree

Educational Background DesirableArt, Liberal Arts, Computer Science, Mathematics


Viewpoint Animation Engineering140 S. MountainwayOrem, Utah 84058

ContactJohn Thomas

Company Area of InterestArt & Animation, Presentation Graphics, SystemsSoftware, Systems Hardware

Specific Computer Graphics Experience DesirableComputer Graphics Fundamentals, Video Graph-ics Techniques, 2D Computer Graphics, 3D Ani-mation, Image Rendering Techniques, Image Shad-ing Techniques, Ray Tracing, Wireframe, FreeformCurves & Surfaces, Spline Algorithms & Tech-niques, Digitizing Techniques


LanguagesC, FORTRAN 77


Other Skills DesirableCommunications, Presentation, Management,Graphics Arts

Educational Levels SoughtB.S., B.A.

Educational Background DesirableArt, Business Administration, General Engineer-ing, Computer Science

Types of PositionsFull & Part time, Summer, Student Co-op Program,Contractor, Consultant, Work Sharing


Visual Information Technologies3460 Lotus DrivePlano, TX 75075

ContactLourdes Romero


Specific Computer Graphics Experience DesirableComputer Graphics Fundamentals, Raster Graph-ics Techniques, Video Graphics Techniques,Vector Graphics Techniques, 2D/3D ComputerGraphics, 2D/3D Animation, Image RenderingTechniques, Image Shading Techniques, Ray Trac-ing, Z-Buffer, Wireframe, Image Processing

Shading PrinciplesGouraud Shading


LanguagesC, C++


PrinciplesSoftware Engineering, Hardware Engineer-ing, Video Design, VLSI Design, ASIC De-sign, 32-bit Microcomputer Systems Design,Structured Software Design, Programming

Other Skills DesirableCommunications, Writing, Public Speaking,Presentation, Management


Educational Background DesirableElectrical Engineering, Computer Science,Mathematics

Types of PositionsFull & Part time, Student Co-op Program,Contractor, Consultant

Wasatch Computer Technology, Inc.123 East 2nd Street

Salt Lake City, Utah 84111

ContactMary Ware

Company Area of InterestPresentation Graphics, Systems Hardware

Specific Computer Graphics Experience DesirableRaster Graphics Techniques, Video Graphics Tech-niques, Vector Graphics Techniques, 2D/3D Com-puter Graphics




LanguagesC


PrinciplesSoftware Engineering, Hardware Engineering

Other Skills DesirableCommunications, Writing, Management, GraphicsArts, Layout Experience, Color, Drafting

Educational Levels SoughtB.S., B.A., B.F.A.

Educational Background DesirableArt, Liberal Arts, Business Administration,Computer Science, Mathematics

Types of PositionsFull time, Summer, Student Co-op Program


Wavefront Technologies530 E. Montecito Street

Santa Barbara, CA 93103

ContactJanice Whitmer-Howell

Company Area of InterestArt & Animation, Advertising, Simulation

Specific Computer Graphics Experience DesirableComputer Graphics Fundamentals, Raster Graph-ics Techniques, Video Graphics Techniques, 2D/3D Computer Graphics, 2D/3D Animation, ImageRendering Techniques, Image Shading Techniques,Ray Tracing, Z-Buffer, Wireframe, Solid Geom-etry, Boundary Representation, Freeform Curves& Surfaces, Spline Algorithms & Techniques


Graphics Standards ExperienceIGES


LanguagesC

Operating SystemsUNIX, MVS, OS/2


Other Skills DesirableCommunications, Public Speaking, Presentation,Management, Graphics Arts, Color, TraditionalAnimation, Technical Marketing


Educational Background DesirableGeneral Engineering, Computer Science,Mathematics


W.W. Gaertner Research Inc.140 Water Street

Norwalk, CT 06854

ContactLisa Keegan

Company Area of InterestSimulation, Image Processing, Systems Design,Systems Software, Systems Hardware

Specific Computer Graphics Experience DesirableComputer Graphics Fundamentals, Raster Graph-ics Techniques, Video Graphics Techniques, Vec-tor Graphics Techniques, 2D/3D Computer Graph-ics, Image Rendering Techniques, Z-Buffer, SolidModeling, Solid Geometry, Spline Algorithms &Techniques


Graphics Standards ExperiencePHIGS


FORTRAN 66, FORTRAN 77, LISPOperating Systems

Operating Systems in General, UNIX, VMS,MVS, MS DOS, OS-9

PrinciplesSoftware Engineering, Hardware Engineer-ing, Digital Logical Design, Video Design,ASIC Design, 8/16/32-bit MicrocomputerSystems Design, Structured Software Design,Programming, Data Structures

Other Skills DesirableWriting


Educational Background DesirableElectrical Engineering, Computer Science,Mathematics, Physics

Types of PositionsFull time, Consultant, Work Sharing


Yale Graphics7375 Drake Road

Cincinnati, OH 45243-1419

ContactChris Komnick

Company Area of IterestArt, Advertising, Presentation Graphics, ImageProcessing

Specific Computer Graphics Experience DesirableComputer Graphics Fundamentals, Raster Graph-ics Techniques, Video Graphics Techniques,Vector Graphics Techniques, 2D Computer Graph-ics, Image Rendering Techniques, Freeform Curvesand Surfaces, Spline Algorithms andTechniques




Operating SystemsUNIX, MS DOS, OS/2

PrinciplesSoftware Engineering, 8, 16 and 32-bit Micro-computer Systems Design, Structured Soft-ware Design, Programming

Other Skills DesirableCommunications, Writing, Graphics Arts, Color,Technical Support

Educational Levels SoughtNone listed

Educational Background DesirableNone listed

Types of PositionsFull time and Part time, Summer, Student Co-opProgram, Contractor, Consultant, Faculty Sabbati-cal Program, Work Sharing

SECTION 6


INTRODUCTION 225

EMPLOYMENT OPPORTUNITIES 225

College Placement Centers

Classified Ads

Networking

Job Fairs

Placement Agencies

Conferences

LETTERS OF INTRODUCTIONAND RESUMES 227

Letters of Introduction

Resumes

Personal References

PORTFOLIOS 228

INTERVIEWS 228

Preparing for the Interview

Following Up

IN CLOSING 229

SELECTED READINGS 229

THE JOB SEARCH PROCESSpage 225


Introduction

Whether you are seeking your first career opportunity, making a career change ormoving from one position to another, searching for a job can be complex and confusing.The effort you put into preparing for this search is extremely important. Neither youreducation nor experience is of any value if you do not present yourself in a way whichreflects your skills, abilities and usefulness to a potential employer. Take the time toacquaint yourself with available job search resources. This will help you find and selecta position which meets your career goals.

This article summarizes the job search process. It is not intended to replace the manyexisting, excellent publications which discuss resumes, letters of introduction, portfo-lios, references and interviews.

Refer to the Selected Reading List at the end of this chapter and check with your localbookstore, librarian or college counseling center for more information on the subject.Take the time to read several of these publications. They offer many excellentsuggestions and are usually based on the experience of others who have preceded youin this stage of your career.

EmploymentOpportunities

There are several major sources for locating employment opportunities. They arediscussed briefly here.

College Placement Centers

Many companies visit colleges and universities to recruit new employees. Educationalinstitutions frequently publish job search guidebooks. Check with your local college oruniversity counseling or placement center for job listings, on-site interviews or jobsearch guidebooks. Many placement centers offer assistance in preparing resumes andgetting ready for interviews.

Classified Ads

Newspapers list employment opportunities in their classified ad sections. Most majornewspapers publish special weekly listings of employment opportunities. Theyfrequently publish special employment opportunity supplements. Check with thenewspaper to find out which day has most employment listings and when (and if) aspecial supplement is planned. If you are looking for a job in a specific geographic area,call the newspapers in that area and ask how you can subscribe to their paper or purchaseany special employment issues.

6.0 Introduction


Networking

Networking simply means communicating with a community of personal friends andcontacts. Personal contacts within a company are one of the best and most frequentlyused sources of employment leads.

Talk to your friends or acquaintances who are in the business. The grapevine is a veryuseful source of information. It often provides good information about a company’smanagement practices, working conditions and personnel policies.

In order to meet people who are working in computer graphics, join a professional oreducational society such as the Association for Computing Machinery (ACM). Manyof these organizations have student and associate memberships. They also frequentlyhave local groups or chapters which hold meetings regularly and offer you theopportunity to meet people and exchange ideas. The back cover of this publication listsACM SIGGRAPH Local Groups throughout the world, and lists future ACM SIG-GRAPH conference dates and locations.

Job Fairs

Job fairs are held in many major cities where prospective employers or their personnelrepresentatives gather to meet prospective employees. Companies provide informationon their employment opportunities, provide job application forms, arrange interviewsor may even conduct interviews on the spot. These job fairs are usually advertised inthe classified sections of newspapers, on television and radio, and through massmailings.

Placement Agencies

Placement agencies, popularly referred to as headhunters, are in the business ofmatching employment opportunities with qualified candidates. There are manyplacement agencies available. Some charge you a fee to find employment opportunities;some fees are paid by employers. You should determine in advance if you will becharged a fee and, if so, how much. Agencies are listed in the telephone directory andoften place advertisements in the classified section of newspapers.

It is important to specify the type of work you are seeking when dealing with an agency,as they deal with many types of careers. If you are not clear in the definition of the typeof work you are seeking, you may waste a lot your time and the potential employer’stime. Remember that placement agencies are paid for placing people in jobs. Do notbe pressured by the agent to take a job prematurely or where you do not feel you havea career match.

Conferences

Conferences related to your field of specialization are not a good source of employmentopportunities. Companies are at conferences to sell a product; they usually do not havetime to discuss employment opportunities. However, conferences offer you anexcellent opportunity to find out about many companies: what they sell, how theypresent themselves, and what products they plan. While at the conference, get a list ofthe exhibitors. Then, after the conference, use the list to make employment inquiries.

6.1 Employment Opportunities


Many specialized magazines and periodicals are available at conferences. Lookthrough those which are in your field of interest. These publications often provideinformation about companies in the field and sometimes provide job listings.

Finally, conferences present an excellent opportunity to build up your network ofpersonal contacts. These contacts may be able to provide you with information aboutpotential employers and employment opportunities in the future.

Letters of Introductionand Resumes

The first contact with a potential employer is usually a resume and letter of introduction.The purpose of these documents is to get an interview. Career objectives should beincluded in your letter of introduction. Keep your objective general so you won’t losea chance to be considered for a position which may not match a very specific careerobjective.

Many reference books deal with resumes and letters of introduction. These presentmany different writing styles and formats from which to choose. If you prepare yourown resume, be neat, well organized, and to the point. Remember that your reader looksat hundreds of resumes. Avoid using low resolution printers. Use a letter quality, orbetter, printer. On the other hand, you may want to have your resume preparedprofessionally. The cost is small compared with your overall educational costs andpotential employment gain.

Letters of Introduction

The letter of introduction should be organized in a clear, concise manner. Introduceyourself, state your general work objectives, tell why you would be an asset to thecompany, and suggest that you would like to discuss the matter further. Do this in oneerror-free, typed page.

Resumes

Keep your resume simple. Again, your potential employer’s time is valuable. Resumesshould be clear, concise, neat and well organized. Highlight details such as education,experience, skills, and publications. The employer should be able to skim your resumeand locate these important subjects easily.

References

Be sure to contact your potential references before you list them; verify that each iswilling to give a positive reference. Tell them what type of work you are seeking andwhy you are interested in the potential employer. Verify that each is willing to act asa reference. Be sure that you list their current telephone numbers and addresses.

You should have references from managers, personal references and several peerreferences (from those who have worked with you) available upon request.

6.2 Letters of Introduction and Resumes


Portfolios

A portfolio is a carefully selected collection of examples of your graphic works. Assuch, the portfolio is your visual resume. The selections should be representative of yourskills, clearly demonstrating your production style, composition and the various mediayou have used.

A portfolio composed of 35mm slides, photographs or video tapes is commonly usedto present graphics works. Original work should not be mailed to your prospectiveemployer; it can be easily lost. Have master sets of your slides or video tapes made, sothat they may be easily reproduced.

If you wish to use a demo reel for presenting your work, have the work converted to highquality video tape by a post-production house. The cost is usually moderate and it givesthe work a professional quality. Use VHS or 3/4" UMATIC format video tape. Do notuse Super 8 film, because it is usually considered unprofessional. Keep your demo reelsshort. Make your selections carefully. Should you have an animated feature, select onlya segment of it for your introduction, and include the entire work on the tape past yourintroductory section.

The content and quality of your selections are more important than their length. Yourprospective employer has limited time to view each candidate’s work. All submittedwork should be clearly and neatly labeled. Include the work’s title and date of creationalong with your name, address and telephone number.

InterviewsMany publications cover interview procedures. They include many extremely valuablepoints such as:

What to bring with you;What to wear;What to say, or not to say;How to dress;How to listen;Types of Interviews;Examples of commonly asked questions;Following up.

Preparing for the Interview

Whether you are seeking employment for the first time or changing your currentposition, it is very important to review your interview skills. This means going overtypes of interviews, questions, interviewers and potential companies.

Have a friend act as your interviewer using some of the questions and situationspresented in various job search guidebooks, magazines or articles. Ask for constructivecriticism. If you have a tape or video recorder, tape yourself answering these questions,with or without a friend. Evaluate yourself as if you were the prospective employer.

6.3 Portfolios


Purchase a notebook or daily diary before beginning your interviews. Keep a record ofthe company name, the contacts, and facts relating to the company. These facts aredeveloped by researching the company and learning of its products, markets, history, andpolicies. Information you have obtained from friends or at conferences is valuable here.Record the date and time the interview is scheduled, what you plan to take with you, andthe name of the interviewer if known.

Following Up

After your interview, record your impressions of the interview, the company, theinterviewer (whether that person is a personnel representative or potential immediatesupervisor), working conditions, dress codes, and other pertinent information. Also,note your mileage, travel time and expenses. Your notes could be helpful for follow-up interviews. They may help you make that career decision with a clear mind.

In ClosingIn all matters pertaining to the job search, whether we are speaking of a writtendocument, your person or your speech, remember to be clear, neat, concise andorganized. If you think it is a waste of time or too much trouble to research the job searchprocess, please think again. It is your future and all your education and experience todate that is at stake. Keep in mind that this process should lead you to a long term careerposition. The time and effort you put into this process can make the difference in findingthe most rewarding career position.

Selected Readings• Best Resumes for Scientists and Engineers,

Adele Lewis, © 1988, John Wiley & Sons

• Job Resumes,J.I. Biegeleisen, © 1982, Perigee Books

• Resumes That Knock ‘Em Dead,Martin J. Yate, © 1988, Bob Adams, Inc.

• Make Your Job Interview A Success,J.I. Biegeleisen, © 1987, Arco (Prentice-Hall)

• Resumes for Better Jobs,Brennan, Strand and Gruber, © 1990, Prentice-Hall

• The Resume Handbook,Hizer and Rosenberg, © 1990, Bob Adams, Inc.

• The 1990 What Color is Your Parachute,Richard N. Bolles, © 1990, Ten Speed Press

• The 100 Best Companies to Work For in America,Levering, Moskowitz and Katz, © 1985, Plume

• How Do I Find the Right JobDavid Bowman, Ronal Kweskin, © 1990 John Wiley & Sons

6.4 Interviews

APPENDIX A. CREDITS

APPENDIX A. CREDITS

APPENDIX

A.0 IMAGE CREDITS

Image Credits

Cover

• upper left image"Christmas Tree and Fire Place"©Copyright 1988, Gavin Miller and Steve WilliamsAlias Research

• upper right image"Dinner for Doris"© Copyright 1989, Bruce J. LindbloomDicomed

• middle left image"Airflow Turbalance"© Copyright 1989, NASA/AMES Codes RFA/RFW

• center"Gumby"© Copyright 1984, Hank Grebe

• middle right"Mirror Balls"© Copyright 1989, Melvin L. PrueittLos Alamos National Laboratory

• lower left"Gleeps"© Copyright 1986, Hank Grebe

• lower middle left"Surrealistic Elevator"© Copyright 1989, A. Synder, P. Prusinkiewicz, N. FullerUniversity of Regina

SIGGRAPH CAREER HANDBOOKA.0 Image Creditspage 232

• lower right"OOOH, That SIGGRAPH Family"© Copyright 1989, John WilletteEmerald City

Introduction

• all images provided courtesy of the Xerox CorporationXerox SquareRochester, New York

Section 1

• Xerox CorporationXerox SquareRochester, New York

Section 2.0

• "Computer Animation"Mike McCulley

Section 2.4

• "Helicopter"Mike McCulley

Section 2.5

• "License Plate"Los Alamos National LaboratoryT.M. Cannon, H.J. Trussel

Section 2.6

• Silicon Graphics IncorporatedMountain View, California

• The Data GloveVPL ResearchMountain View, California

APPENDIX A A.0 Image Credits

Page 233

SIGGRAPH CAREER HANDBOOKA.0 Image Creditspage 234

Section 2.7

• Stephan R. KeithSterling Software

Section 4

• Office of Public InformationUniversity of IowaIowa City, Iowa

Section 5

• All images provided by Oscar and Associates Photographyand ACM SIGGRAPH 1990

Section 6

• Bob PowellIsland Graphics

Please note that all other images used but not specifically listed above weredrawn from either the career profile autors or the ACM SIGGRAPH slide setsfrom 1984 - 1989. Please refer to ACM SIGGRAPH for information onpurchasing these slide sets.

APPENDIX A A.0 Image Credits

Page 235

APPENDIX B. FAMILY PICTURE

APPENDIX B. FAMILY PICTURE

A group photograph of the Education Handbook Committee.

From left to right:Ed Furguson, University of MaineCatherine Shadden Keith, Design Department, Alameda CountyStephan R. Keith, Sterling SoftwareLaura Carey Halas, Innovative Software SolutionsBob Powell, Island Graphics

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