Digital art is art created on a computer in digital form. Digital art can be purely computer-generated, such as fractals, or taken from another source, such as a scanned photograph, or an image drawn using vector graphics software using a mouse or graphics tablet. The term is usually reserved for art that has been non-trivially modifed by the computer; digitized text data and raw audio and video recordings are not usually considered digital art in themselves, but can be part of a larger project.
Still Life, Digital painting 2004The availability and popularity of photograph manipulation software has spawned a vast and creative library of highly modified images, many bearing little or no hint of the original image. Using electronic versions of brushes, filters and enlargers, these "Neographers" produce images unattainable through conventional photographic tools. In addition, digital artists may manipulate scanned drawings, paintings, collages or lithographs, as well as using any of the above-mentioned techniques in combination. Artists also use many other sources of information and programs to create their work.
3D graphics are created via the process of designing complex imagery from geometric shapes, polygons or NURBS curves to create realistic 3 dimensional shapes, objects and scenes for use in various media such as film, television, print and special visual effects. There are many software programs for doing this.
The mainstream media uses a lot of digital art in advertisements, and computers are used extensively in film to produce special effects. Desktop publishing has had a huge impact on the publishing world, although that is more related to graphic design.
Digital art is yet to gain the acceptance and regard reserved for "serious" artforms such as sculpture, painting and drawing, perhaps due to the erroneous impression of many that "the computer does it for you" and the suggestion that the image created could be infinitly repeatable.
Computer graphics (CG) is the field of visual computing, where one utilizes computers both to generate visual images synthetically and to integrate or alter visual and spatial information sampled from the real world.
The first major advance in computer graphics was the development of the Sketchpad in 1962 by Ivan Sutherland.
This field can be divided into several areas: real-time 3D rendering (often used in video games), video capture and video creation rendering, special effects editing (often used for movies and television), image editing, and modeling (often used for engineering and medical purposes). Development in computer graphics was first fueled by academic interests and government sponsorship. However, as real-world applications of computer graphics (CG) in broadcast television and movies proved a viable alternative to more traditional special effects and animation techniques, commercial parties have increasingly funded advances in the field.
It is often thought that the first feature film to use computer graphics was 2001: A Space Odyssey, which attempted to show how computers would be much more graphical in the future. However, all the "computer graphic" effects in that film were hand-drawn animation, and the special effects sequences were produced entirely with conventional optical and model effects. In computer graphics, alpha compositing is often useful to render image elements in separate passes, and then combine the resulting multiple 2D images into a single, final image in a process called compositing. For example, compositing is used extensively when combining computer rendered image elements with live footage.
In order to correctly combine these image elements, it is necessary to keep, for each element, an associated matte. This matte contains the coverage information - the shape of the geometry being drawn - and allows us to distinguish between parts of the image where the geometry was actually drawn and other parts of the image which are empty.
To store this matte information, the concept of an alpha channel was introduced by A.R.Smith in the late 1970s, and fully developed in the 1984 paper Compositing Digital Images, by Thomas Porter and Tom Duff. In a 2D image element which stores a color for each pixel, an additional value is stored in the alpha channel containing a value between 0 and 1. A value of 0 means that the pixel does not have any coverage information; i.e. there was no color contribution from any geometry because the geometry did not overlap this pixel. A value of 1 means that the pixel is fully opaque because the geometry completely overlapped the pixel.
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