The computer graphics (CG) industry is an attractive field for undergraduate students, but employers often find that graduates of CG art programmes are not proficient. The result is that many positions are left vacant, despite large numbers of job applicants. This book investigates how student CG artists develop proficiency. The subject is important to the rapidly growing number of educators in this sector, employers of graduates, and students who intend to develop proficiency for the purpose of obtaining employment. Educators will see why teaching software-oriented knowledge to students does not lead to proficiency, but that the development of problem-solving and visualisation skills do. This book follows a narrow focus, as students develop proficiency in a cognitively challenging task known as 'NURBS modelling'. This task was chosen due to an observed relationship between students who succeeded in the task, and students who successfully obtained employment after graduation. In the study this is based on, readers will be shown that knowledge-based explanations for the development of proficiency do not adequately account for proficiency or expertise in this field, where visualisation has been observed to develop suddenly rather than over an extended period of time. This is an unusual but not unique observation. Other studies have shown rapid development of proficiency and expertise in certain professions, such as among telegraph operators, composers and chess players. Based on these observations, the book argues that threshold concepts play a key role in the development of expertise among CG artists.

The computer graphics (CG) industry is an attractive field for undergraduate students, but employers often find that graduates of CG art programmes are not proficient. The result is that many positions are left vacant, despite large numbers of job applicants. This book investigates how student CG artists develop proficiency. The subject is important to the rapidly growing number of educators in this sector, employers of graduates, and students who intend to develop proficiency for the purpose of obtaining employment. Educators will see why teaching software-oriented knowledge to students does not lead to proficiency, but that the development of problem-solving and visualisation skills do. This book follows a narrow focus, as students develop proficiency in a cognitively challenging task known as 'NURBS modelling'. This task was chosen due to an observed relationship between students who succeeded in the task, and students who successfully obtained employment after graduation. In the study this is based on, readers will be shown that knowledge-based explanations for the development of proficiency do not adequately account for proficiency or expertise in this field, where visualisation has been observed to develop suddenly rather than over an extended period of time. This is an unusual but not unique observation. Other studies have shown rapid development of proficiency and expertise in certain professions, such as among telegraph operators, composers and chess players. Based on these observations, the book argues that threshold concepts play a key role in the development of expertise among CG artists.

An Introduction to Computer Graphics for Artists is an application-independent, reader-friendly primer for anyone with a serious desire to understand 3D Computer Graphics. Written by a veteran of the computer graphics industry whose previous career included film animation and various spells as Art Director for video games, Andrew Paquette draws on his experiences both as an artist and a manager. Far too often artists, even professionals, lack a basic understanding of the principles of computer graphics. The result is inefficiency and lower quality of work. This book addresses these issues by providing fundamental information in a university course format, with theoretical material, detailed illustrations, and projects to test the reader's understanding of the concepts covered. Opening with the first and most basic elements of computer graphics, the book rapidly advances into progressively more complex concepts. Each of the elements, however simple, are important to understand because each is an essential link in a chain that allows an artist to master any computer graphics application. With this accomplished, the artist can use technology to satisfy his goals, instead of the technology being master of the artist. All students wanting to learn more about computer graphics from an artistic viewpoint, particularly those intending to pursue a career in computer game design or film animation, will find this book invaluable.

In this second volume of Computer Graphics for Artists the author, Andrew Paquette, guides the reader through the creation of realistic computer-generated backgrounds and characters. Rather than teach using a specific program, the author focuses on the theory required to ensure that the artist can create a convincing landscape, building, person or whatever they turn their attention to. Part One covers the core areas of background generation, such as CG terrain, plant life and architecture, but also deals with specific concepts such as photo-texturing and lighting, explaining all the advantages and pitfalls involved. Part Two introduces the reader to the study of the body-shape and movement and their consequent effects upon successful digital-recreation, as well as addressing some of the fundamental elements of appearance; hair, skin and fat. It is assumed that readers will be familiar with the terms and concepts described in the first volume of this work.

After a near-fatal car crash, Ethan Russell gains the PERIPHERAL VISION of the invisible astral beings which surround our material plane. But this power turns into a nightmare when one such creature begins to plague his life and that of his new girl-friend. The hideous JEERING MAN seeks to take over Ethan's body for his own nefarious ends. A deadly battle begins, where the prize is nothing other than Ethan's immortal soul. Andrew Paquette is a professional artist who has worked on Scooby-Doo, Space Jam and Spider-Man. He co-created Harsh Realm (which was made into a television series). Paquette now writes screenplays and exhibits his watercolors of the American Southwest at various galleries. In film and television, thousands of fine scripts by established writers are never produced. The Black Coat Script Library is dedicated to presenting some of those scripts.