Some original material here, as scanned from ‘Creative Computer Graphics’ (Cambridge University Press, 1984) this one I came across whilst searching through the Google Books archives, and intrigued I decided to order a hard copy. Google Books by the was is well worth a look, countless printed publications are logged and categorized dating from recent to way back. Most modern titles are subject to copyright so show just a selection of internal pages, but this is plenty to gain a flavour and if you have 10 mins to burn, I highly recommend a trawl through.
Above: A still from The Last Starfighter (1984) this ‘Gunstar’ model is comprised of almost 400,000 Polygons, this was four times more than had ever been attempted with any other computer generated model and each frame took 5 minutes or more to render on the most powerful computer available, a Cray X-MP.
So a little more about ‘Creative Computer Graphics’, this was then, I presume, one of the definitive coffee table books of the day, it’s easy to imagine it having pride of place in a mid 80’s Pixar studio, or Graphics Group as they were then known. Bound inside are 144 glossy pages chronologically charting the rise of computer graphics technology from the tentative first steps of the 1950’s right through to the early 80’s. The book contains some wonderful imagery (often horrendously crude), and in addition there’s some very insightful reading on early computer graphic pioneers like John Whitney and Jim Blinn, it’s definitely worth a look. Here then is a snapshot of that zeitgeist…
Above: Wireframe skeleton for an aircraft on Evans & Sutherland’s original picture system, an F15 Eagle I think ? anyway great colours indicating the various sections of fuselage. This is of course something that could be pulled from any modeling program today, but back in 1984, this was the bleeding edge.
Above: A image developed for the 1983 David Cronenberg film Videodrome, a body shock horror (does he do any other?). It’s a long time since I’ve seen the movie, so I can’t say I remember this, the garish factor is obviously through the roof, and whilst undoubtably somewhat vulgar there is something enticing here. One thing is for sure, it’s so very, very eighties.
Above: A nearly-solid wireframe image of a satellite in high orbit above Oceania, the density of the wireframe gives the Illusion of a sold surface.
Above: A still from an animation designed at Montreal University, this is a simulation of a collision, in fact the scattered debris of a Chervolet Corvette…
Above: A still from Tron (Disney 1982). Three video game warriors poised to transform in ‘Light Cycles’, the glowing red lines added optically over the top of the actors – I presume this means ‘in post-production’.
Above: The books most interesting chapter is on computer art, and the early adopting artists. As with the other sections it’s a mixed bag, with plenty of dated graphics but on the spin there’s some really striking experimental imagery, which interestingly hasn’t really dated at all. Take for example the above image ‘Unititled’ by digital art pioneer Manfred Mohr, this is in fact a wooden construction, plotted by computer, of all the 24 diagonal paths of the diagnal 000-111, generated from a four-dimensional hypercube (also known as a tesseract). If this fascinating excersize in mathematical minimalism is slightly beyond you, dont worry, without further reading I’m with you…
Above: Further experimentation with the tesseract, ‘Cubic Limit V: Restriction’ again by Manfred Mohr.
Above: ‘Skew f28’ by Mark Wilson. This one was a little tricky to scan, and due to format I’ve had to scale it down, still it’s a very interesting piece and I imagine it’d look great run off a large format plotter printer.
Plenty more old school goodies inside but I’ll wrap up the post here, if your interested in checking out more, have a browse through the title over at Google Books or you could pick up the hard copy for just a few dollars via Amazon.