Applying Computer Graphics Technology In Media Production

By Larry Johnson and Annette Lamb

T he technology of computer graphics is difficult to define; is it desktop publish- ing, desktop media, or presentation graphics? It seems that each individual has a different definition for the array

of terms that have bombarded the area of educa- tional technology the past few years. One thing is certain, the technology of computer graphics has dramatically changed the basic tools of media pro- duction. For example, to create an attractive transparency, you no longer have to sit for hours with a straight-edge and rub-on letters. No longer do you need to grimace when someone wants to make a "minor" change. Computer graphics have made the physical production of media so painless that you can spend more time on the effective de- sign of visuals.

Computer graphics applications have largely evolved from spreadsheets and paint programs, much the same as desktop publishing has devel- oped from word processing. Computer graphics offers business professionals, educators, and me- dia specialists several distinct advantages over traditional production methods. For a large per- centage of needs, a computer graphics application package matched with the correct hardware will produce a product that meets or exceeds a re- quest. Technology can bring new life to transpar- ency production. Don't worry, you don't need to throw out your LeRoy, Wrico, and Kroy sets yet. However, in the near future you may only have to dust them off when there's a line for the com- puter.

A decade ago, computer graphics technology was largely available only to those in large corpo- rations and engineering or scientific research facil- ities. Systems were expensive and difficult to use. In recent years, hardware costs have been re-

Larry Johnson is the media services coordinator at the University of Southern Indiana, Evansville. Annette Lamb is an assistant professor of educa- tional technology at the University of Toledo and recently co-authored the book HyperCard Author- ing Tool For Presentations, Tutorials and Infor- mation Exploration.

8 Tech Trends

duced. Today's low-end computer graphics appli- cation software is powerful, affordable and easy- to-use. To get started, you need a microcomputer, software, and a matched output device. This low- end system could be a personal computer, "draw- type" software and dot-matrix printer. As demand and use increase, a variety of input and output devices as well as advanced graphics software applications can be added to expand the basic setup into a computer graphics workstation.

Welcoming The World Of Computer Graphics Some people have been slow to embrace the

new computer graphics technologies. They cite equipment costs, the time it takes to learn pack- ages, and lack of qualified personnel as reasons to put off using new technologies. In many cases, a resistance to change is at the core of the problem. Once people realize the cost-effectiveness of com- puter graphics in terms of professional and cleri- cal time and the ease-of-learning some of the new software packages, many reluctant media coordi- nators are willing to give computer graphics a try.

Nearly eighty percent of graphics materials for either business or educational use are primarily text-based. Traditiorial hand lettering methods as well as the layout of transfer and machine-pro- duced letters are slow, laborious processes. The technology of computer,generated graphics pro- vides increased production speed and enables greater productivity. In addition, a skilled com- puter operator can use templates that do not re- quire the eye for layout design that traditional methods require. With the software currently available, you can easily improve the legibility of visual materials through control over font, type size, and type style options. The improved text, draw, and paint capabilities available in recent software can provide professional-looking visuals that impact viewers. The impact of simple text- based visuals can be expanded through the use of two dimensional and even three dimensional drawings featured in some software packages.

One of the primary advantages of using com- puter graphics is the ability to quickly update, correct, and revise materials. No longer do you grimace and flinch when someone spots a mis- spelling or thinks of a change. Editing both text and graphics is a simple procedure. As such, you may even begin to welcome new ideas and per- spectives. It 's easy to try a box for emphasis,

What poets are the most popular for 6th grade readers?

In a recent study of sixth grad- ers, 125 students chose Shel Sil- verstein as their favorite poet,

64 indicated that they liked Jack Prelutsky the best, Carl Sandburg

was a distant third with 13 votes.

Figure I. "Before" Computer Graphic

Popular Poets

I. Shel Silverstein 2. Jack Prelutsky 3. Carl Sandburg

Figure 2. "After" Computer Graphic

then decide later to scrap the box and just bold- face the type instead. Because computer graphics provide the computer user complete control over the form and content of a visual, it's feasible to provide patrons with two of these prototype lay- outs without investing lots of time.

Computer graphics technologies provide envi- ronments for both restricted and open access to projects. For instance, in cases involving confi- dentiality of information, that control can be strictly maintained. The budget director may not want anyone to see the final budget figures ahead of time. Software-based passwords can be used to restrict access to the project. An alternative would be to provide the director with a set of templates for the presentation where he or she only needs to modify the "numbers ." Open ac- cess to a project may be the goal. If a number of people are working on the same project, visuals may be "roughed-in" by one person, then given to another person for layout and the final produc- tion. With some software programs, you even have the capability to transmit image data from a remote extension site via modem to a central pro- duction center providing even greater flexibility.

Selecting The Hardware Macintosh, IBM, Tandy, ITT, Leading Edge,

Apple GS, Amiga. What's the best computer sys- tem? We'll leave this debate for another time. The real keys to selecting and building a graphics workstation are connectivity and compatibility. Of course the "experts" say to start by selecting the

software that best meets your need, however you'll more than likely begin by examining what you already have in-house. Starting with the com- puter itself, ideally you would select a personal computer with a minimum of 640K memory for MS-DOS systems (1MB memory for a Mac sys- tem) and a internal hard disk of 20MB or more. Although a few programs can be run using dual disk drives and a smaller amount of memory, nei- ther case is recommended for any volume of work. Also, you would severely limit any future expansion into other software programs.

With one exception, a system will most likely be based in either the MS-DOS or Macintosh op- erating system. The exception is the Commodore Amiga which has established a reputation for a relatively low-cost avenue with speciality software to animate computer graphics. In recent years, similar graphics software programs have been de- veloped for both MS-DOS and Macintosh systems and peripheral hardware can be selected to match either type of system. Although the Macintosh has traditionally been thought of as the "graph- ics" computer and the IBM as the " tex t" and "spreadsheet" computer, the newer operating systems are very similar. As a matter of fact, you can now easily transfer files between the two sys- tems.

One primary hardware consideration relates di- rectly to your color needs. Most MS-DOS sys- tems provide both low- and high-end color moni- tors. If you're considering a Macintosh and color, you'll want to buy at least a Macintosh II or bet- ter machine. Although some systems will allow you to "plan for color" on a black and white monitor, you'll be much happier with a system that displays what the product actually will look like. Along these same lines, you may want to consider a Portrait or Two-Page display monitor. These "larger-than-normal" monitors allow you to easily view full-page layouts.

Hardware expansion of the basic computer and printer workstation is done by adding peripherals. Criteria for selecting these devices are based on the kind of input or output desired, the money available, the production speed required, and the compatibility of the computer, the software, and the peripheral. You'll need to ask yourself: Are color originals necessary or can color be added using traditional methods? Are most visuals text- based or graphics-based? Do print graphics need to be converted to computer-based images? Do I need professional-quality output or is "decent" output acceptable? Can I use traditional produc- tion methods for converting print copies to trans- parencies or slides, or do I want a thermal printer or film recorder for professional-quality output? Is money available now, or will I need to develop a long-range plan for developing a graphics worksta- tion? All these and other questions need to be de- cided before investing in peripherals. It 's easy to get "suckered" into buying more than you need. Think about the quality and quantity of the media you produce regularly, then decide where you want to place your priorities.

The most common input devices are the mouse,

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a scanner, and a video digitizing interface. Other variations of input devices include the bit pad, an electronic pen with a tablet; the light pen, that draws directly on-screen; and the track-ball, an up- side-down mouse. The mouse has become the most common input device for graphics applications. However, for detailed graphics work many graphic artists prefer some of the other tools. A scanner has recently become the "hot" peripheral. Scanners allow you to take any type of graphics image such as a photograph, line art, or halftone and transfer it into a digital image you can use within a graphics program. When considering a scanner, keep in mind that it's easy to get into sticky copyright situations if the items you are scanning are not originals or in the public domain.

Typical output devices for a computer graphics workstation are the dot matrix printer, an electro- mechanical impact mechanism; the plotter, an electromechanical driven pen; ink jet printer, an ink droplet spray; laser printer, a photocopy-like process; thermal transfer printer, heat fused wax operation; and the film recorder, a photographic imaging process. Images developed using selected software can be output to a paper copy on all the above devices except the film recorder. Some of these devices are currently limited to producing black and white images. Although black and white full-sized transparencies can be produced on all except the film recorder, the thermal transfer printer is more suited to producing color transpar- encies. Color transparencies can also be made with plotters and some ink jet printers. In addi- tion, color laser printers are now available, if you can afford one. The film recorder uses a built-in camera to produce 35ram slides,

There are a wide variety of output devices. In some instances, prices have been drastically re- duced. For instance in the last two years, film re- corders have entered the market at half the cost of previous models. Even so, the buyers need to carefully examine each item before purchase and consider it in light of their situation and needs. Even if you are limited to the basic workstation and a computer with a dot matrix printer, you'll have access to the potential and power of com- puter graphics.

Selecting The Graphics Application Software Many people do limited graphics production

using a spreadsheet program, a desktop publishing package, or even a word processing program with the variety of fonts now available. But progress beyond that point usually brings the acquisition of one; or more often, several different graphics ap- plication software packages. Graphics applications packages are designed specifically for the creation and layout of visuals. The importance in selecting the best graphics application program to meet your needs should rank even higher than deciding what hardware to purchase. It's the software that really makes the system. Sophisticated users will likely want a library of several packages with the user choosing the appropriate one for a particular task.

10 Tech Trends

Typical graphics application programs have text charting, two-dimensional drawing, and graphing abilities. Typically, graphics software falls into one of two categories: bit-mapped or object-ori- ented. Bit-mapped graphics are structured with small square dots called pixels. Often called "paint" programs, graphics and text are repre- sented as a series of these tiny pixels. Even when printed on a laser printer, bit-mapped graphics appear "jaggy" because each dot must be printed. On the other hand, object-oriented graphics are created through a series of defined lines, curves, and patterns. These "draw" type programs are popular for projects that require text, charts, and line drawings. Because the computer stores the information as screen locations rather than as dots, object-oriented graphics appear smooth when printed. In addition, object-oriented graph- ics can easily be proportionally resized without corrupting or distorting the image.

When selecting computer graphics programs, you'll want to consider the types of graphics you'll be producing. Scanned images, clip art, and "ar tsy" illustrations are often found in the bit- mapped format, while text-based tables, charts, and graphs are likely to be developed in an ob- ject-oriented environment. If you'll be using text, you'll want the text to appear as an object rather than as a series of pixels. Many graphics packages now combine bit-mapped painting with object- oriented graphics. This combination can make a powerful package. While the object-oriented mode allows high-quality text, the bit-mapped option allows detailed artwork. In addition, some of these advanced packages also offer three-dimen- sional drawing capabilities.

Software Options in the Macintosh Environment

CA-Cricket Stylist (Computer Associates Internah'ona/ Inc.) $ 295

Freehand (Aldus Corp.) 495

Illustrator 88 (Adobe Systems) 495

MacDraw I1 (Clads Corp.) 399

PowerPoint (Microsoft Corp.) 345

Super Paint (Silicon Beach) 199

The computer graphics software in the Macin- tosh Environment can be classified in five areas: paint packages, draw packages, combination packages, page layout packages, and presentation packages. MaePaint 2.0 by Claris Corporation has been improved greatly since it was first intro- duced. It is still the choice of many Macintosh users who want simple bit-mapped graphics op- tions. DeskPaint 2.0 by Zedcor is another popular

package. It's handy because it can be used as a desk accessory and with the addition of DeskDraw, users have a complete graphics sys- tem. Cricket Stylist by Computer Associates Inter- national Inc. and MacDraw H by Clads Corpora- tion provide the basic tools needed to develop high-quality object-oriented graphics. In addition, users can work in a color environment.

Several packages combine both the paint and draw options. For example, Super Paint by Silicon Beach combines the best of the paint and draw op- tions. Canvas 2.0 by Deneba Software provides a low-end option for color work on the Macintosh II and LaserPaint Color H by LaserWare allows the full range of colors for professional copy.

Both Illustrator 88 and FreeHand 2.02 are "high-end" graphics packages intended for seri- ous users. They both allow the creation of Post- Script graphics and have powerful editing capabil- ities. Illustrator 88 by Adobe Systems and FreeHand 2.02 by Aldus Corporation provide an exceptional drawing environment for producing high-quality graphics and have some of the most precise tools available for modifying drawings.

For users interested in developing quality print and project materials with limited graphics, a page layout package may be recommended. Programs such as Pagemaker by Aldus Corporation at the "high" end and Publish It Easy by Timeworks at the "low" end provide an environment where com- plex print materials can be generated, in addition to simple graphics for projection. Pagemaker 4.0 con- tains improved draw features that may appeal to many users who prefer using a single package for layout.

Aldus Persuasion by Aldus Corporation, Cricket Presents. . . by Cricket Software, and MicroSoft PowerPoint 2.0 by MicroSoft Corporation are three of the growing number of comprehensive "desktop presentation" packages for people inter- ested in producing professional-quality black and white or color originals. In addition to providing templates, all three packages provide speaker notes and thumbnail sketches. The desktop pre- sentation packages are marketed for people inter- ested in designing presentations from initial idea through to design, development, and production. Although very complete, these packages, like desktop publishing packages, are costly.

Software Options in the MS-DOS Environment

Arts & Letters Graphics Editor (Computer Support Corp.) $ 695

Corel Draw (Corel Systems) 595

Freelance Plus (Lotus Development Corp.) 495

Harvard Graphics (Software Publishing Corp.) 495

PC Paintbrush IV Plus (ZSo# Corp.) 199

Words, Graphs & Art (Klnetlc Presentat/'ons) 495

For IBM and IBM-compatible operations, users have a similar variety of software options for paint, draw and combination packages. PC Paint- brush IV Plus by ZSoft Corporation is a proven paint program for bit-mapped graphics in the MS- DOS environment.

Corel Systems' Cord Draw and Computer Sup- port Corporation's Arts & Letters Graphics Editor are both medium-level draw packages aimed at serious use. These programs offer ease of editing and include supporting clip-art libraries. And like Adobe's Illustrator 88 and Aldus' Freehand for the Macintosh sector, these powerful draw packages can automatically replace scanned bit-mapped lines with computer-drawn Bezier curves.

Software Corporation's Harvard Graphics is an easy-to-learn combination package that develops quality visuals through its layout templates. The package can be easily used by clerical, secretarial and student staff with beginning computer exper- tise and introductory instruction. For these rea- sons, many businesses and institutions select Har- vard Graphics for individual and departmental use. Higher-level combination or all-in-all pack- ages for the MS-DOS setting include Lotus Devel- opment Corporation's Freelance Plus and Kinetic Presentations' Words, Graphs & Art. Compared to Harvard Graphics, Freelance Plus has a longer learntime; however, it has greater flexibility and expanded design choices. Therefore, Freelance Plus might be selected for general use by a cen- tralized media production unit. All three of these combination programs contain additional compo- nents that allow creation of a "desktop" screen show and the batch printing of files.

Locations having a production center that is diversely staffed might also have needs that ex- tend beyond the software capabilities already dis- cussed. These centers could select a high-end pro- gram such as Zenographics Mirage. This combination package has power and features that usually dictate a full-time computer graphics per- son who has completed extensive specialized training.

Selecting The Right Software You need to identify the package that best fits

your needs without being cumbersome and com- plicated. You're better off selecting a more lim- ited, easy-to-use package over a very complicated package with "everything." List those features you need and also those features you can do with- out. Then, choose the best package. Also con- sider how much you'll be using a package. If it will be part of your daily routine, it may be worth the time and effort to learn a more complex pro- gram. On the other hand, if a transparency here and there is the extent of your need, stick to something simple.

As with choosing the computer hardware sys- tem, selection of graphics application software requires consideration of compatibility. Before buying, consumers need to make certain that the software will work with their particular operating system as well as input and output devices. Just

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as with the selection of hardware, decisions as to what software to use should not become a road- block. Start out by acquiring one of the low-end packages, put it into use, and add to the software collection as needs dictate.

Creating Effective Computer-Generated Visuals With a workstation and one or more graphics

packages, you're ready to begin turning out mate- rials. The power of computer graphics technology is exciting and fascinating, yet can be somewhat overwhelming. It allows the user at their "desk- top" to produce volumes of graphics junk, or marvelous masterpieces.

Start with the following guidelines or tips for improving visual designs. This doesn't mean you can't be creative. As a beginning, you can pro- duce better looking graphics if you incorporate these traditional principles of good design. First, present one idea at a time. "Chunk" the content into reasonable parts, then organize the informa- tion into a logical sequence. Don't try to cram every detail of the presentation into one visual; simplify, outline or highlight the content. Trans- parencies and slides are inexpensive, so you don't need to scrimp and save space. Also, you don't need to fill every corner of the transparency or slide. Leave lots of white space between pieces of information and around the margins. Remember, clutter creates confusion. If you're unsure about the placement of text and graphic elements, think about balance, simplicity, and consistency. Create unity within your visuals by making the picture and words work together.

When a visual series is being completed, select a design template and color scheme that draws the separate design pages together. Throughout a presentation sequence, orient the pages, width to length, uniformly. Consistency is the key to an effective series. Condition the audience to look for the message in the same location. Using a style sheet that standardizes your font, type size, type style, and graphic elements will give your series of slides or transparencies a more profes- sional, transparent look.

The key to effective typography within visual materials is practicing restraint. For projected vi- suals such as transparencies and slides, use a sim- ple, sans serif font. Avoid the highly detailed fonts and type styles, they're difficult to read and don't always project well. Selecting and combin- ing type sizes and styles effectively is no simple task, so start conservatively. Limit lettering to one or two typestyles and one or two sizes. Again, the key is restraint. It 's okay to make a title bold and italics, but if you add shadow and underline it's called " tacky." Remember, the idea behind type styles is to provide emphasis to your product. More is not necessarily better. Avoid underlining text. For emphasizing a specific word or phrase, try other methods. For example, use a bold or italic typestyle or a box enclosure.

When designing visuals that are text-based, you'll want your heading to be one-third larger than the body. There are extensive tables and for-

12 Tech Trends

mulas for determining the size of lettering for legi- bility; but a general recommendation for projected visuals is to use a minimum of one-fourth inch high letter and larger if possible for an 81/2 " • 1 l" graphics master. Generally, text for projected vi- suals should fit the expected pattern for printed- matter. Combined upper and lower case lettering should be used and set-up horizontally to be read from left to right. In text-based graphics, six to eight lines of text per visual and six to eight words per line should be considered optimum. One way to cut down on words is using action phrases that begin with verbs.

When considering graphic elements such as il- lustrations, diagrams, graphs, or charts, select the right visual for your task. In addition, choose the most appropriate graphic format. Again, object- oriented graphics are best for line drawings, graphs, and charts. Consider your audience. Are informal "cu tesy" visuals desirable for interest and motivation, or is a formal, professional ap- proach more appropriate for the situation? For example, if appropriate, " fun" dingbats such as checkmarks, pointers, and stars can be used in- stead of the standard bullets in front of items in a list. Simple boxes and lines can add to the pol- ished, professional look of a visual. Just don't get carried away. Stick to simple boxes that let the contents "breathe." And remember that if you use shadow boxes, the shadow should appear like it does from the sun, under the box, not over. Use color carefully and consistently. Just because the software has two hundred and fifty-six avail- able hues does not mean you should use all of them and graphs have the best appearance if the segments number four to six and are not ex- tremely diverse in size.

The guidelines we've provided are simply ideas to get you started with producing computer graph- ics. Once you become comfortable with all the options available, you can begin getting creative.

Summary The use of computer graphics technology can

produce immediate benefits to anyone involved with the production of media. Computer graphics use involves (1) developing a hardware base or workstation, (2) acquiring one or more graphics application software programs, and (3) using those hardware and software resources to produce effective graphics materials. In order of impor- tance, the selection and acquisition of the re- quired hardware and software components should take a back seat to the knowledge and application of effective visual design guidelines.

Finally, if you're having trouble making deci- sions about hardware, software, or design, then follow these four simple rules.

If in doubt, look for a model. If in doubt, stick to a standard. If in doubt, underdo rather than overdo. If in doubt, ask someone. �9