A Response to “2D and 3D Animation and Video” by Anne Spalter and “The World Wide Web” by Anne Spalter

The motion within computer graphics is manipulated through various means which often includes a combination of traditional animation, film, and video. Additionally, principles of effective cinema are shared amongst the industries of photography, animation, and video (Spalter pg. 325). Motion graphics otherwise known as video editing and special effects are 2D animation programs utilized for creating the motion of both hand-drawn figures and still graphics, while three dimensional animation programs however, focus on capturing a collaboration of the motion between objects, lights, and various camera views. The illusion of motion is still developed through traditional forms of animation by vision persistence and visual closure in addition to the available technologies of graphic and digital modeling. Vision persistence, specifically, allows our eyes to remember an image for a fraction of time before it is replaced with a new image, which then creates the illusion of visual motion (Spalter pg. 326).
Additionally, key-frames and in-between frames serve as a means to control the ‘motion’ of an object, in order to create the animation. These in-between frames are calculated by linear intervals equally spaced (referred to as interpolation) which also controls additional changes in the appearance of an object such as the scale, rotation, and color (Spalter pg. 329). The non-linear version of this adaption calculates the changes and movements within a curved path, allowing for the animation of natural elements such as wind, clouds, and various bodies of water. These interfaces of animation vary between frame-like cells and visible timelines to control the motion quality of the animation through techniques such as morphing both 2D and 3D images.
The history of web interfaces and internet browsing also provides unique opportunities for the manipulation of 3D and interactive graphics. Not surprisingly, as the internet was originally provided for by the government and expanded through ARPANET (Advanced Research Project Agency) in order to create larger high speed networks, speculation of it being conceived for military usage and nuclear wars occurred through the media. However the purpose of internet expansion served to create a means for faster connections and accessibility in file creation, file sharing, and email and image readability (Spalter pg 415-16). As technology has expanded the graphic ability of web pages and portals, the original creativity of artists has found a foundational place on the web through programs such as Adobe Page Mill, Microsoft Front Page, and Macromedia Dreamweaver (Spalter pg. 424).
As technology continues to expand through the local area networks (LANs), hyperlinks, java scripts, and bandwidths, multimedia art work has become an interactive tool amongst designers, artists, and consumers (Spalter pg. 418-21). The development of 3D modeling, web graphics, and virtual pages has also increased the potential for graphic representation within both art/design work and the visual context within websites, animation and general modeling capabilities. This provides the ability for designers and artists to commission their art work and designs to a vast community of potential consumers. In fact, potential clients are currently able to access the web to create appointments and inquire about information through a web supported calendars (Spalter pg. 434-35).
As technology continues to expand I would foresee the availability of consumers being able to virtually preview an art piece or designed product or new construction within their home or other environment. It wouldn’t be surprising to view an animated hologram of a painting, object, furniture or newly constructed wall as a potential client stands in the middle of their living room and browses the internet. The potential for exposure to new forms of art will most likely increase over the next few years; however the encouragement to still view works of art and designed objects within their original environment and context should still be encouraged in addition to accessing the emerging technologies of the web and 2D/3D digital modeling (Spalter pg. 434-35). -Kimberlie Wade

Articles:
Spalter, A. (1999). 2D and 3D Animation and Video. In The Computer in the Visual Arts (pp. 324 - 358). Addison Wesley Longman Inc.
Spalter, A. (1999). The World Wide Web. In The Computer in the Visual Arts (pp. 414 - 437). Addison Wesley Longman Inc.