Evolution Of Graphics Research Articles

Expanding Applications and Artistic Principles of Motion Graphics in Digital Media

Motion graphics, in contrast to traditional two-dimensional media, provide the user with an experience that is more intuitive, dynamic, multi-dimensional, rhythmic and narrative. This study examines the principles and evolution of motion graphics in digital media, including television commercials, websites, applications, interactive installations, and graphic design. By analysing their dynamic, rhythmic and narrative characteristics, this paper outlines the principles of art construction from the perspectives of time, space, communication and synthesis. It also explores the artistic expression of motion graphics through three main avenues: enhancing information presentation, expanding graphic creativity, and integrating multiple forms. To illustrate how these principles enhance information presentation, expand creative boundaries and integrate multiple forms, an in-depth literature review and a series of case studies are conducted. Conclusions focus on providing guiding principles for using motion graphics in modern digital environments.

The Impact of Digital Tools on the Evolution of Technical Graphics in Modern Engineering

The Impact of Digital Tools on the Evolution of Technical Graphics in Modern Engineering

2D GAME DEVELOPMENT USING UNITY ENGINE “MINOTSCAPE”

2D game development involves the creation of games that exist within a two-dimensional space, where characters, objects, and environments are represented using two axes: X and Y. This medium offers a diverse range of gameplay possibilities, from side-scrolling adventures to top-down exploration and puzzle- solving experiences. As we grown by playing and enjoying 2D games from our childhood, we always wondered how these games work .This is why the reason we have planned to develop 2D game in order to learn the process. The realm of video games has witnessed a profound transformation over the decades, marked by the evolution of graphics, gameplay mechanics, and player experiences. This research delves into the intricate world of 2D games, exploring their enduring relevance and innovative contributions to the gaming industry. Through an extensive analysis of historical and contemporary examples, this study examines the artistic, technical, and design aspects that have shaped the trajectory of 2D gaming. The objectives of this research are threefold: to uncover the reasons behind the sustained popularity of 2D games in an era dominated by 3D graphics; to investigate the utilization of advanced technologies and techniques in enhancing the visual appeal and interactivity of 2D games; and to highlight the unique design challenges faced by developers in creating compelling gameplay within the constraints of a two-dimensional space.

The Origins of Computer Graphics in Europe: Part 2-The Early Spreading of Computer Graphics in Europe.

"The Origins of Computer Graphics in Europe," is being published in two parts: Part 1, published in the March/April issue of IEEE Computer Graphics and Applications (IEEE CG&A), is subtitled "The Beginnings in Germany"; Part 2, published in this May/June 2023 issue, is subtitled "The Early Spreading of Computer Graphics in Europe." I was a participant, contributor, and witness to the events reported here and I relate my personal story along with the broader history. Part 1 describes the origins and successful evolution of computer graphics in Germany, starting in 1965, and includes details of the people and subject matter of the earliest research groups. It describes the efforts undertaken to establish computer graphics as a proper academic discipline, including the founding of EUROGRAPHICS, and creation of institutes for both basic and applied research in computer graphics. Part 2 continues the story with a focus on activities contributing to the growth of the academic and industrial computer graphics communities across Europe and documents the two IFIP workshops held at Seillac and the development of the GKS Graphics Standard. Over the years, computer graphics gained respect and importance as a component of the computer science curricula and became an important tool and enabling technology for applications for industry and for the IT market in Europe.

The Origins of Computer Graphics in Europe: Part 1-The Beginnings in Germany.

"The Origins of Computer Graphics in Europe," is being published in two parts: Part 1, in this issue of IEEE Computer Graphics and Applications, is subtitled "The Beginnings in Germany"; Part 2, to be published in the May/June issue, is subtitled "The Spreading of Computer Graphics in Europe." I was a participant, contributor, and witness to the events reported here and I relate my personal story along with the broader history. Part 1 describes the origins and successful evolution of computer graphics in Germany, starting in 1965, and includes details of the people and subject matter of the earliest research groups. It describes the efforts undertaken to establish computer graphics as a proper academic discipline, including the founding of EUROGRAPHICS, and creation of institutes for both basic and applied research in computer graphics. Part 2 continues the story with a focus on activities contributing to the growth of the academic and industrial computer graphics communities across Europe and documents the two IFIP workshops at Seillac and the development of the GKS Graphics Standard. Over these years, computer graphics gained respect and importance as a component of the computer science curricula and became an important tool and enabling technology for applications for industry and for the IT market in Europe.

Pixels and columns: tracing the symbiotic evolution of digital graphics and contemporary architecture

Technological advancements have rewritten the perspective and functionality of all fields, including art and architecture. This paper delves into the evolution of the symbiotic relationship between digital graphics and contemporary architecture, highlighting their profound impact on architectural representation, design processes, and visual communication. By tracing the historical development of digital graphics in architecture, from initial implementations to the transformative effects of Computer-Aided Design (CAD), we examine how digital graphics have reshaped architectural representation techniques, empowering architects to create realistic renders, animations, and virtual reality applications. The integration of digital graphics into architects' design workflows, especially through parametric design and algorithmic tools, enables the realization of dynamic, responsive architectural forms. Through case studies of iconic structures, the pivotal role of digital graphics in shaping architectural projects is demonstrated. Furthermore, we explore the influence of architectural aesthetics on digital graphics in various industries, such as video games and advertising, emphasizing the importance of ethical considerations in the responsible representation and marketing of architecture. Looking to the future, upcoming technological advancements, including augmented and virtual reality, real-time rendering, and generative design, are predicted to steer architectural innovation and redefine the future of digital design. The seamless interplay between pixels and columns will continue to inspire architects to create innovative, sustainable, and visually striking architectural experiences for future generations.

Stylistic evolution of magazine and book graphics by “Blue Rose” artists

The works of the “Blue Rose” artists in the field of magazine and book design allow us to judge the nature of the stylistic evolution of their graphic language. In the drawings that decorated the pages of periodicals of the 1900s, a single set of techniques is often used, and the fascination of the whole group with the aesthetic ideas of symbolists becomes obvious. But gradually the masters of this circle move away from purely decorative ornamental fantasies, get carried away with solving more complex problems. In the 1920s and 1930s, their desire to overcome the painful extremes and pretentious significance of modernity, the search for a language much more intelligible and concise, became obvious.

Volumetric Reconstruction and Web‐Based Visualization of Giga‐resolution Anatomical Datasets Using 3D Point Clouds: From Full‐color Image Sequences to Spatial Anatomy

Introduction The Visible Human Project (VHP) data sets are comprehensive visual archives that provide a reliable submillimeter registration of human anatomy. The evolution of computer graphics and the use of standardized pipelines have offered a general improvement in the three-dimensional (3D) visualization of data primarily obtained from radiological and histological sections. Due to the massive amount of high-resolution image sequences found in the data sets, there is currently a lack of complete and accessible 3D versions of the VHP. Recently, digital representations based on a set of 3D points following a given coordinate system, called “point clouds” (3D-PC), have become an essential tool for the study of topographical models in the geospatial field, with a wide variety of applications. This study describes a 3D-PC-based workflow developed by our team with the aim of online volumetric visualization, interaction, and democratization of the VHP data sets. Materials & Methods Three VHP data sets (i.e., VHP male, VHP female, and VHP 2.0) containing full-color cryo-sections were acquired from the online repository of the National Library of Medicine. The workflow for each one of the data sets was divided into four steps: 1) Batch-processing of image sequences: the image files were converted into TIFF files, and the pixels contained in the files were processed into arrays with fixed scale size, 3D position, and color value using in-house software (tif2laz v1.0). 2) Images to 3D-PC: the previously assigned values were used for the creation of volumetric models formatted as 3D-PC, and the resulting file was saved as a compressed geospatial file (i.e., .laz) with a converter (tif2laz v1.0) to facilitate its online visualization and interaction. 3) 3D Filtering: the 3D-PC model was previewed, and the existing noise was removed using 3D software (CloudCompare v.2.11.2). 4) Deployment: the model was subsequently deployed on an octree-based 3D-PC renderer platform (Potree v.1.7.2), and an ordinary web server was created for the online use of the final models. Results Total and segmented visualization of the models, including interactions with 3D clipping boxes, and measurement tools, were possible using the online platform. The process data characteristics were as follows: 1) VHP male dataset (Fig. 1A & 2A): 4.3 billion 3D points obtained from 1871 images (4096 x 2700 resolution) at 1 mm interval. Data set size: 64 GB. 2) VHP female (Fig. 1B & 2B): 12 billion 3D points from 5189 images (4096 x 3061 resolution) at 0.33 mm interval. Data set size: 189 GB. 3) VHP 2.0 (Fig. 1C & 2C): 1.5 billion 3D points from 1481 images (1056 x 1528 resolution) at 0.5 mm interval. Data set size: 17 GB. Conclusion The use of 3D-PC demonstrated to be a cost-efficient method for the spatial representation of the anatomical geometry generated from the VHP data sets. The advent of novel computer graphic and geospatial technologies along with the optimization of online 3D rendering techniques, would likely offer new opportunities for the education and research of giga-resolution anatomical data sets. Further research needs to be done to elucidate the potential applications to the use of 3D-PC in anatomy and medical imaging.

Distributed Blind Hyperspectral Unmixing via Joint Sparsity and Low-Rank Constrained Non-Negative Matrix Factorization

Hyperspectral unmixing is a crucial processing step in remote sensing image analysis. Its aim is the decomposition of each pixel in a hyperspectral image into a number of materials, the so-called endmembers, and their corresponding abundance fractions. Among the various unmixing approaches that have been suggested in the literature, we are interested here in unsupervised techniques that rely on some form of non-negative Matrix factorization (NMF). NMF-based techniques provide an easy way to simultaneously estimate the endmembers and their corresponding abundances, though they suffer from mediocre performance and high computational complexity due to the nonconvexity of the involved cost function. Improvements in performance have been recently achieved by imposing additional constraints to the NMF optimization problem related to the sparsity of the abundances. Another feature of hyperspectral images that can be exploited is their high spatial correlation, which is translated into the low rank of the involved abundance matrices. Motivated by this, in this paper we propose a novel unmixing method that is based on a simultaneously sparse and low-rank constrained NMF. In addition, prompted by the rapid evolution of multicore processors and graphics processing units, we devise a distributed unmixing scheme that processes in parallel different parts of the image. The proposed distributed unmixing algorithm achieves improved performance and faster convergence than existing state-of-the-art techniques as it is verified by extensive simulations on synthetic and real hyperspectral data.

Retrospective on the origin, intent, and impact of the Gutshops and some directions for the future

The eighth in a series of workshops on fish feeding ecology (“Gutshops”) was held in 2015, continuing a tradition started in 1976 that expanded in scope and participation. Topics in early Gutshops focused on methodology and analysis, and evolved to include niche overlap, competition, nutrition, and community trophic interactions. Major accomplishments were enhanced communications, standardization, design and evolution of indices (IRI, GII, PSIRI, etc.), statistical improvements, graphics, and chemical studies such as stable isotope and fatty acid analyses. Future directions, some of which were presented at the 2015 meeting, include internal tags (detecting feeding through movements, acidity, temperature, etc.), additional stable isotope and fatty acid analyses, genetic identification of prey and physiological indicators (enzyme analysis and digestion processes).

Interactive Visualization of the Building of University of Economics – Varna via 3D Modeling

The object of this paper is presenting the University of Economics – Varna, using a 3D model with 3Ds MAX. Created in 1920, May 14, University of Economics - Varna is a cultural institution with a place and style of its own. With the emergence of the three-dimensional modeling we entered a new stage of the evolution of computer graphics. The main target is to preserve the historical vision, to demonstrate forward-thinking and using of future-oriented approaches.

Impact of computer graphics on the engineering product design: Conceptual analysis

Computer graphics matured over many years and played an important role in the development of engineering products like automotive and aircraft components. The current CAX (CAD/CAM/CAE) tools use computer graphics extensively, while helping in conceiving better designs with improved quality. Nowadays, engineering product development is being done concurrently and collaboratively, due to the advances in computer graphics. This paper presents a brief overview on evolution of computer graphics over the decades and its impact on the engineering product development. Conceptual analysis is done in order to find out the impact of computer graphics on engineering product development. It also attempts to present, how advances in computer graphics, have revolutionized the current engineering product development and what future technologies will offer. Key words: Computer graphics, engineering product development, computer graphic sciences.

Molecular Graphics: From Science to Art

The evolution of molecular graphics is briefly discussed. The utility of simplified representations of complex molecular assemblies is illustrated with several examples from the authors' previously published works.

Statistical graphics: mapping the pathways of science.

This chapter traces the evolution of statistical graphics starting with its departure from the common noun structure of Cartesian determinism, through William Playfair's revolutionary grammatical shift to graphs as proper nouns, and alights on the modern conception of graph as an active participant in the scientific process of discovery. The ubiquitous availability of data, software, and cheap, high-powered, computing when coupled with the broad acceptance of the ideas in Tukey's 1977 treatise on exploratory data analysis has yielded a fundamental change in the way that the role of statistical graphics is thought of within science-as a dynamic partner and guide to the future rather than as a static monument to the discoveries of the past. We commemorate and illustrate this development while pointing readers to the new tools available and providing some indications of their potential.

STATISTICAL GRAPHICS: MAPPING THE PATHWAYS OF SCIENCE

In this paper we trace the evolution of statistical graphics from its departure from the common noun structure of Cartesian determinism, through William Playfair's revolutionary grammatical shift to graphs as proper nouns and alight on the modern conception of graph as an active participant in the scientific process of discovery. The ubiquitous availability of data, software, and cheap, high-powered computing when coupled with the broad acceptance of the ideas in Tukey's 1977 treatise on exploratory data analysis has yielded a fundamental change in the way that the role of statistical graphics is thought of within science — as a dynamic partner and guide to the future rather than as a static monument to the discoveries of the past. We commemorate and illustrate this development while pointing readers to the new tools available and provide some indications of their potential.

The evolution of graphics in scientific articles

The use of graphic illustrations in today's scientific journals has evolved from practices beginning in the seventeenth century, modified by the demands of readers and the technology of creating and reproducing illustrative material. This article discusses the reasons for using illustrations in scientific journals and reviews the historical development of their use. Photographs, graphics and cartographic techniques, graphs, and standardized drawings and diagrams are analyzed.

The Evolution of Educational Graphics in Zoos

Both the style and content of zoo graphics have evolved over the years to reflect changes in thought about what zoos should communicate to their visitors and changes in the perception of visitors' behavior. Styles of graphics have evolved through the "Ages of Graphics" to the present-day "minimal" stage of sleek, high-quality materials. Modern graphics communicate the agenda of zoos within a broad social context and are more conducive to experiential learning than are the graphics of the past. The evaluation of zoo signage has focused typically on the efficacy of a sign in communicating a direction or thought. Future evaluation needs to consider the nature of visitors' interactive experiences within the zoo setting and implement these findings in graphic designs.

TV networks vie for viewer's votes: Sophisticated computer graphics will be the weapons as television technologists compete to speedily convert 1984 election results into exciting home images

The role of sophisticated computer graphics in television coverage of elections is examined. The use of graphics in the 1984 election reporting is discussed. The evolution of graphics is reviewed, and the characteristics of television graphics systems are described.

The evolution of graphics in CAL

From the early days of CAL. graphics has been regarded as a more natural form of student interaction with the computer than traditional methods. However, the relatively high costs of graphics terminals deterred their widespread exploitation in a CAL environment. Recent technology advances, in raster scan graphics and in personal microcomputers, has resulted in increased use of graphics in CAL applications. This paper traces the evolution of graphics in a CAL environment. Different classes of graphics terminals are reviewed against the desirable requirements of a student terminal. The conclusion is that there will be a technology convergence between intelligent graphics terminals and personal microcomputers with graphics. Another conclusion is that in the future the cost of these students' workstations is not likely to be the major factor limiting their widespread acceptance. Other technical, social and political obstacles exist, but the author is optimistic that most of these will disappear during the next few years. The growth of graphics in CAL will then happen extremely rapidly.