Computer Graphics Education Column Judy Brown and Steve Cunningham SIGGRAPH Education Committee Leadin to other articles This quarter, we have articles by two artists in computer graphics discussing what skills are needed for these careers and how one gets started along these exciting career paths. This type of information is needed by students and by those who are making career-change decisions in all areas of computer graphics. Steve Keith, coordinator of ACM-SIGGRAPH local chapters, has been collecting such information in two forms. One questionnaire solicits demographics information from a cross section of computer graphics professionals. A second form solicits short papers from professionals who are willing to describe their jobs. This questionnaire and author's outline are included in this issue. Please take the time to complete the questionnaire, and consider writing a brief paper about your career. You will provide valuable information to those who are considering a career in one of the many exciting areas of computer graphics. We recently mailed a packet of information to everyone on our education mailing list. If you teach computer graphics and did not receive this mailing, contact Steve Cunningham, Dept. of Computer Science, CSU- Stanislaus, Turlock, CA 95380. If you did receive it, a few reminders are in order: 1. Your questionnaire for the educational directory update should be returned to Steve Cunningham. 2. Student thesis and dissertation abstracts should be sent to Jeffrey McConnell for publication in the Computer Graphics quarterly newsletter. 3. Samples of student work in a beginning computer graphics course in any discipline should be sent to Judy Brown. A course on teaching computer graphics has been approved for the SIGGRAPH '87 conference in Anaheim. The above-mentioned student work in beginning graphics courses will be used as examples in this course. We will also have an education booth at SIGGRAPH '87 and hope all of you will drop by. Questions or comments about anything in this section should be directed to Judy Brown, Vice-Chair, SIGGRAPH Education Committee, Weeg Computing Center, The University of Iowa, Iowa City, Iowa 52242, Phone 319-335-5552, AWCJRBWY@UIAMVS.BITNET. Careers questionaires Role Model Return-Path: Received: from ames-pioneer.arpa by Xerox.COM ; 02 FEB 87 12:41:24 PST Received: Mon, 2 Feb 87 12:38:24 pst by ames-pioneer.arpa (4.12/1.2) Date: Mon, 2 Feb 87 12:38:24 pst From: Stephan Keith SS Message-Id: <8702022038.AA13541@ames-pioneer.arpa> To: Beach.PA@Xerox.ARPA Subject: Role Model Document From KEITH%HAL@ames-io.ARPA Mon Feb 2 11:19:19 1987 Received: Mon, 2 Feb 87 11:19:13 pst from ames-io.ARPA by ames-pioneer.arpa (4.12/1.2) Message-Id: <8702021919.AA13055@ames-pioneer.arpa> Received: from HAL by IO with VMS ; Mon, 2 Feb 87 10:56:28 PST Date: Mon, 2 Feb 87 10:56:28 PST From: KEITH%HAL@ames-io.ARPA Subject: role.model To: keith@ames-pioneer.arpa Status: R \typeout{--------------------------------------------------} \typeout{System Note: Role Model Document } \typeout{--------------------------------------------------} % \documentstyle{report} % \setlength{\textwidth}{6.25in} \setlength{\textheight}{9.2in} \addtolength{\headsep}{+1.\headsep} \setlength{\oddsidemargin}{1.125in} \setlength{\evensidemargin}{\oddsidemargin} \setlength{\parskip}{7pt plus 2pt} \setlength{\footnotesep}{15pt} \setlength{\jot}{20pt} % \begin{document} { \par\noindent \today \\ \\ From: \\ Judith R. Brown, ACM/SIGGRAPH Education Committee\\ Stephan R. Keith, ACM/SIGGRAPH Local Groups Coordinator\\ \\ Subject: Careers in Computer Graphics - Role Models\\ \\ } Dear Computer Graphics Professional: We are working together to establish the foundations of a SIGGRAPH Computer Graphics Careers Handbook. The handbook is to provide career guidance for high school students, college students and professionals investigating career changes. The handbook will contain information regarding established categories of computer graphics, educational requirements, college curricula, role models and other information as appropriate for career guidance. We are seeking professionals in the computer graphics industry to enhance the information that will be in the careers handbook with pragmatic, real-life professional information. We are calling this section "role models". As a computer graphics professional, you and your associates are asked to consider writing a two-page description of your graphics career to be considered for publication in the careers handbook. We shall select those papers we feel appropriate for the handbook and notify you upon acceptance. We may need to edit accepted papers, but we will not publish them without first asking the author to approve or further modify the recommended changes. We seek papers which fit in the following broad {\bf categories}: \begin{enumerate} \item Art and Animation \begin{enumerate} \item Fine and General Arts \item Animation \item Advertising \end{enumerate} \item CAD/CAM/CAE \begin{enumerate} \item VLSI design \item Solids Modeling \item Any form of computerized manufacturing using computer graphics \item Cartography \end{enumerate} \item Presentation Graphics \begin{enumerate} \item Desktop publishing \item Business graphics \item Corporate Communications \end{enumerate} \item Simulation \begin{enumerate} \item Real time systems \item Hardware \item Firmware \end{enumerate} \item Systems \begin{enumerate} \item Systems design \item Hardware (such as workstations, graphics terminals) \item Software (such as graphics s/w packages, GKS/PHIGS development, etc.) \end{enumerate} \end{enumerate} Each {\bf category} listed above will involve professionals who may be {\bf characterized} as follows: \begin{enumerate} \item {\bf User}: an individual who uses computer graphics in his or her job. \item {\bf Designer}: an individual who designs and/or constructs hardware, software and/or systems to do computer graphics. \item {\bf Consultant}: an individual who advises, assists or implements computer graphics hardware, software and/or systems as an independent contractor. \item {\bf Educator}: an individual who instructs in the principles, practices and usage of computer graphics hardware, software and/or systems. \item {\bf Researcher}: an individual who does pure or near-pure research in the disciplines of computer graphics. \item {\bf Manager}: an individual who manages personnel and/or company resources to accomplish tasks and/or create products for computer graphics. \end{enumerate} With these five {\bf categories} and six {\bf characterizations} in mind, we have developed an author's outline which specifies the information we seek to include in the careers handbook. The idea is to cover the following outline in a conversational writing style, that covers many or most of the aspects we desire. The text of the papers should take no more than four {\em double-spaced} pages. {\bf AUTHOR'S OUTLINE:} \begin{enumerate} \item {\bf Job Description Section:} \begin{enumerate} \item What do you do? \item What are the {\em positive} aspects of your work? \item What are the {\em negative} aspects of your work? \item How do you categorize your profession in terms of the five {\em categories} listed above? \item How do you characterize yourself in terms of the six {\em characterizations} listed above? \item If you manage or supervise projects and/or personnel, please include this. \end{enumerate} \item {\bf Skills Section:} \begin{enumerate} \item What computer graphics skills do you need? \item What non-computer graphics skills do you need? \begin{enumerate} \item Communications skills \item Personal management skills \item Interpersonal skills \item Computer skills - non-computer graphic \item Graphics skills - non-computer \end{enumerate} \item What skills do you think you should acquire? \end{enumerate} \item {\bf Career Path Section:} \begin{enumerate} \item What did you do to get into computer graphics? \item Why did you get into computer graphics? \end{enumerate} \item {\bf ``Sage Wisdom'' Section:} \begin{enumerate} \item What is the outlook for your profession? \item What would you tell someone today to help them get them into your particular field of work? \end{enumerate} \end{enumerate} {\bf SHARE VALUABLE INFORMATION:} Please send a copy of your Role Models paper to: \hspace{1.25 in} { \par\noindent Stephan R. Keith\\ 424 Custer Road\\ Hayward, CA 94544\\ \\ arpanet: KEITH@AMES-PIONEER.ARPA {\tiny Use this one first}\\ arpanet: KEITH@IO\%HAL@AMES-IO@AMES-NAS.ARPA \\ 415/537-0964 Fri. {\tiny Answering Machine} \\ 415/694-6197 Mon.-Thr.\\ } {\bf DEADLINE:} The official deadline was 2 February 1987. However, we will gladly receive any papers participants wish to provide, and try to prepare them for SIGGRAPH '87 providing they meet acceptance requirements. {\bf WHAT TO INCLUDE:} \begin{itemize} \item - Include two copies of your Role Model paper, double-spaced. \item - Include your complete address and phone number \item - Your paper may be received via netmail or on floppy disk (see below). \end{itemize} {\bf Final Note:} Please take this opportunity to provide information and assistance for new and existing computer graphics professionals. Also keep in mind that Role Model papers not accepted for the handbook may be considered for publication in Computer Graphics at a later date. We can receive copy via netmail, please contact us for this address. We can also upload ASCII files from disks compatible with APPLE and IBM PC home computers. Also, my system has a 300/1200 baud modem, so we may receive manuscripts by direct phone link. Judy Brown and I wish to thank you for your consideration of our efforts. We hope to hear from you very soon. \hspace{.25 in} \par\noindent Very Sincerely Yours,\\ \\ \\ \\ Stephan R. Keith\\ ACM/SIGGRAPH Local Groups Coordinator\\ \end{document} Questionaire Return-Path: Received: from ames-pioneer.arpa by Xerox.COM ; 02 FEB 87 12:41:21 PST Received: Mon, 2 Feb 87 12:39:01 pst by ames-pioneer.arpa (4.12/1.2) Date: Mon, 2 Feb 87 12:39:01 pst From: Stephan Keith SS Message-Id: <8702022039.AA13546@ames-pioneer.arpa> To: Beach.PA@Xerox.ARPA Subject: SIGGRAPH Questionnaire From KEITH%HAL@ames-io.ARPA Mon Feb 2 11:14:54 1987 Received: Mon, 2 Feb 87 11:14:38 pst from ames-io.ARPA by ames-pioneer.arpa (4.12/1.2) Message-Id: <8702021914.AA13001@ames-pioneer.arpa> Received: from HAL by IO with VMS ; Mon, 2 Feb 87 10:50:36 PST Date: Mon, 2 Feb 87 10:50:36 PST From: KEITH%HAL@ames-io.ARPA Subject: siggraph.qu1 To: keith@ames-pioneer.arpa Status: R \typeout{--------------------------------------------------} \typeout{System Note: SIGGRAPH Career Questionnaire } \typeout{--------------------------------------------------} % \documentstyle{report} % \setlength{\textwidth}{6.25in} \setlength{\textheight}{9.2in} \addtolength{\headsep}{+1.\headsep} \setlength{\oddsidemargin}{1.125in} \setlength{\evensidemargin}{\oddsidemargin} \setlength{\parskip}{7pt plus 2pt} \setlength{\footnotesep}{15pt} \setlength{\jot}{20pt} % \begin{document} { \par\noindent \today \\ \\ From: \\ \\ Judith R. Brown, ACM/SIGGRAPH Education Committee\\ Stephan R. Keith, ACM/SIGGRAPH Local Groups Coordinator\\ \\ Subject: Careers in Computer Graphics - Questionnaire\ \\ } Dear Computer Graphics Professional: We are working together to establish the foundations for a SIGGRAPH Computer Graphics Careers Handbook. The function of the handbook is to provide career guidance for high school students, college students and professionals changing career directions. The handbook will contain information regarding established categories of computer graphics, educational requirements, college curricula, role models and related information. We are seeking professionals in the computer graphics industry to complement the information that will be in the careers handbook with pragmatic, real-life professional information. One section will include demographic information from individuals who are in the Computer Graphics industry or who use computer graphics. We have determined to use the following purposefully broad categories to define certain subareas in computer graphics. It is within these areas we seek demographic information from a cross section of Computer Graphics professionals: \begin{enumerate} \item Art and Animation \begin{enumerate} \item Fine and General Arts \item Animation \item Advertising \end{enumerate} \item CAD/CAM/CAE \begin{enumerate} \item VLSI design \item Solids Modeling \item Any form of computerized manufacturing using computer graphics \item Cartography \end{enumerate} \item Presentation Graphics \begin{enumerate} \item Desktop publishing \item Business graphics \item Corporate Communications \end{enumerate} \item Simulation \begin{enumerate} \item Real time systems \item Simulations with graphics output \end{enumerate} \item Systems \begin{enumerate} \item Systems design \item Hardware (such as workstations, graphics terminals) \item Software (such as graphics s/w packages, GKS/PHIGS development, etc.) \end{enumerate} \end{enumerate} Each {\bf category} listed above will involve professionals which may be {\bf characterized} as follows: \begin{enumerate} \item {\bf Users}: individuals who use computer graphics products for applications work in their job. \item {\bf Designers}: individuals who design and construct hardware, software and/or systems to do computer graphics. \item {\bf Consultants}: individuals who advise, assist or implement computer graphics hardware, software and/or systems as independent contractors. \item {\bf Educators}: individuals who instruct in the principles, practices and usage of computer graphics hardware, software and/or systems. \item {\bf Researchers}: individuals who do pure or near-pure research in the disciplines of computer graphics. \item {\bf Managers}: individuals who manage personnel and/or company resources to accomplish tasks or create products for computer graphics. {\em Note: should you indicate that you are a Manager (025 or 026 on the questionnaire), all answers to the questionnaire will be assumed from a Manager's point of view.} \end{enumerate} The questionnaire appears long, but it is clear and should take little time to complete. The questionnaire was designed so that we could easily use a personal computer to collect the data, as well as make the responses to each question more uniform. Should there be an item you think belongs on this questionnaire, there are plenty of places to include your own special category or skill. There is also a section for making comments and suggested changes. Should you know of a colleague who fits the {\em categories} and {\em characteristics} described above, please feel free to copy the attached questionaire to fill out and turn in. The official deadline was 2 February 1987, but we will accept any questionnaires up to the last minute we can enter, analyze and prepare it for SIGGRAPH '87. Acknowledgements to Steve Cunningham, Gaye Graves, and Catherine Keith for reviewing and making suggested changes to the questionnaire. Judy Brown and I wish to thank you for your consideration of our efforts. We hope to receive your response to our questionnaire very soon. \hspace{.25 in} \par\noindent Very Sincerely Yours,\\ \\ \\ \\ Stephan R. Keith\\ ACM/SIGGRAPH Local Groups Coordinator\\ \pagebreak \begin{center} {\bf {\Large ACM/SIGGRAPH CAREERS QUESTIONNAIRE } } \end{center} \begin{itemize} \item {\bf PERSONAL INFORMATION - confidential} {\tiny Names, addresses and phone numbers will be kept confidential} \begin{itemize} \item[$\rhd$001] Name: \hrulefill\ \_ \item[$\rhd$002] Title: \hrulefill\ {\tiny optional} \item[$\rhd$003] Company: \hrulefill\ {\tiny optional} \item[$\rhd$004] Address: \hrulefill\ {\tiny optional} \item[$\rhd$005] City: \hrulefill\ state: \hrulefill\ {\tiny Please Indicate} \item[$\rhd$006] Zip/Country: \hrulefill\ {\tiny optional} \end{itemize} \item {\bf APPLICATION AREA(S) YOU ARE INVOLVED IN:} \begin{itemize} \item[$\Box$007] ART/ANIMATION \item[$\Box$008] CAD/CAM/CAE \item[$\Box$009] PRESENTATION GRAPHICS \item[$\Box$010] SIMULATION \item[$\Box$011] IMAGE PROCESSING \item[$\Box$012] SYSTEMS DESIGN (Hardware/Software Systems and Integration) \item[$\Box$013] SYSTEMS SOFTWARE (Support s/w, GKS, PHIGS, Communications, etc) \item[$\Box$014] SYSTEMS HARDWARE (Workstations, terminals, computers) \end{itemize} \item {\bf YOUR FUNCTIONAL CAPACITY:}\\ {\tiny Checking 025 or 026 indicates all responses are from a Manager's point of view.} \begin{itemize} \item[$\Box$020] -- USER: you use hardware, software and/or systems to perform the application(s) work described above. \item[$\Box$021] -- DESIGNER: you design and/or implement graphics products in the application area(s) above. \item[$\Box$022] -- CONSULTANT: you advise, assist or implement computer graphics hardware, software and/or systems as independent contractors in the application area(s) described above. \item[$\Box$023] -- EDUCATOR: you instruct in the principles, practices and usage of computer graphics hardware, software and/or systems in the application area(s) described above. \item[$\Box$024] -- RESEARCHER: you do pure (near-pure) research in the application area(s) described above. \item[$\Box$025] -- TECHNICAL MANAGER: you manage company resources and persons to accomplish the application area(s) described above. \item[$\Box$026] -- CORPORATE MANAGER: you are a President, Vice-President, CEO. \end{itemize} \item {\bf YEARS OF TOTAL EXPERIENCE:} \begin{itemize} \item[$\Box$030] 0 - 1 year \item[$\Box$032] 1 - 3 years \item[$\Box$033] 3 - 5 years \item[$\Box$034] 5 - 10 years \item[$\Box$035] 10 - 25 years \item[$\Box$036] Greater than 25 years \item[$\Box$037] Retired \end{itemize} \item {\bf SALARY RANGE FOR YOUR PROFESSION} \\ {\tiny (Optional - range should reflect your overall salary for your region)} \begin{itemize} \item[$\Box$040] Less than \$15k \item[$\Box$041] \$15k - \$20k \item[$\Box$042] \$20k - \$25k \item[$\Box$043] \$25k - \$35k \item[$\Box$044] \$35k - \$40k \item[$\Box$045] \$40k - \$45k \item[$\Box$046] \$45k - \$50k \item[$\Box$047] \$50k - \$65k \item[$\Box$048] Greater than \$65k \end{itemize} \item {\bf DESCRIBE COMPUTER SKILLS NECESSARY TO DO YOUR JOB:} \begin{itemize} \item[$\Box$100] Software Engineering \item[$\Box$101] Structured Software Design \item[$\Box$102] Programming \item[$\Box$103] Data Structures \item[$\Box$104] FORTRAN 66 \item[$\Box$105] FORTRAN 77 \item[$\Box$106] APL \item[$\Box$107] SNOBOL \item[$\Box$108] PL/1 \item[$\Box$109] LISP \item[$\Box$110] COBOL \item[$\Box$111] PASCAL \item[$\Box$112] C \item[$\Box$113] Assembly Language (all types) \item[$\Box$114] Operating Systems \item[$\Box$115] UNIX (all types) \item[$\Box$116] VMS \item[$\Box$117] MVS \item[$\Box$118] Other operating system: \hrulefill\ \_ \item[$\Box$119] Communications \item[$\Box$120] Artificial Intelligence \item[$\Box$121] Software Other 1: \hrulefill\ \_ \item[$\Box$122] Software Other 2: \hrulefill\ \_ \item[$\Box$123] Software Other 3: \hrulefill\ \_ \item[$\Box$124] Hardware Engineering \item[$\Box$125] Logical Digital Design (non-microprocessor) \item[$\Box$126] Bit-Slice Design \item[$\Box$127] Microcomputer Systems Design \item[$\Box$128] 8-bit Microcomputer Systems Design \item[$\Box$129] 16-bit Microcomputer Systems Design \item[$\Box$130] 32-bit Microcomputer Systems Design \item[$\Box$131] Hardware Other 1: \hrulefill\ \_ \item[$\Box$132] Hardware Other 2: \hrulefill\ \_ \item[$\Box$133] Hardware Other 3: \hrulefill\ \_ \end{itemize} \item {\bf NON-COMPUTER SKILLS NECESSARY TO DO YOUR JOB:} \begin{itemize} \item[$\Box$200] Communication Skills (e.g., listening, explaining) \item[$\Box$201] Writing \item[$\Box$202] Public Speaking \item[$\Box$203] Presentation \item[$\Box$204] Personal Management Skills (how you manage your own work) \item[$\Box$205] Management Skills (how you manage resources and people) \item[$\Box$206] Personnel Management (managing people,separate from technical) \item[$\Box$207] Technical Management (managing technical directions, separate from managing people) \item[$\Box$208] Time Management (managing schedules, PERT charts, production) \item[$\Box$209] Corporate Management (President, Vice-president, CEO levels) \item[$\Box$210] Financial Management (managing budgets, costs) \item[$\Box$211] Graphics Arts Skills \item[$\Box$212] Layout experience \item[$\Box$213] Color skills \item[$\Box$214] Traditional Animation skills (all types) \item[$\Box$215] Drafting \item[$\Box$216] Non-Computer Other 1: \hrulefill\ \_ \item[$\Box$217] Non-Computer Other 2: \hrulefill\ \_ \item[$\Box$218] Non-Computer Other 3: \hrulefill\ \_ \end{itemize} \item {\bf SPECIFIC COMPUTER GRAPHICS SKILLS NECESSARY TO DO YOUR JOB:} \begin{itemize} \item[$\Box$300] Raster Graphics techniques \item[$\Box$301] Vector Graphics techniques \item[$\Box$302] Video Graphics techniques \item[$\Box$303] Computer Graphics fundamentals (rotations, translation) \item[$\Box$304] 2D Computer Graphics \item[$\Box$305] 3D Computer Graphics \item[$\Box$306] 2D Computer Animation \item[$\Box$307] 3D Computer Animation \item[$\Box$308] Image Rendering Techniques \item[$\Box$309] Ray-Tracing \item[$\Box$310] Z-buffer \item[$\Box$311] Wire frame \item[$\Box$312] Image Shading Techniques \item[$\Box$313] Constant shading principles \item[$\Box$314] Gouraud Shading principles \item[$\Box$315] Phong Shading principles \item[$\Box$316] Solid Modeling principles \item[$\Box$317] Constructive Solid Geometry principles \item[$\Box$318] Boundary Representation principles \item[$\Box$319] Freeform Curves and Surfaces \item[$\Box$320] Computer Aided Design principles \item[$\Box$321] Computer Aided Manufacturing principles \item[$\Box$322] Computer Aided Engineering principles \item[$\Box$323] Spline Algorithms and Techniques \item[$\Box$324] Graphics Standards: CORE \item[$\Box$325] Graphics Standards: GKS \item[$\Box$326] Graphics Standards: CGM \item[$\Box$327] Graphics Standards: CGI \item[$\Box$328] Graphics Standards: PHIGS \item[$\Box$329] Graphics Standards: NAPLPS \item[$\Box$330] Graphics Standards: IGES \item[$\Box$331] Graphics Standards: Other: \hrulefill\ \item[$\Box$332] Unique Skills {\tiny (May be considered as skill elements for future questionaires - please print clearly)} \item[$\Box$333] Other 1: \hrulefill\ \_ \item[$\Box$334] Other 2: \hrulefill\ \_ \item[$\Box$335] Other 3: \hrulefill\ \_ \item[$\Box$336] Other 4: \hrulefill\ \_ \end{itemize} \item {\bf YOUR EDUCATIONAL BACKGROUND} {\tiny (Please check all that apply)} \begin{itemize} \item[$\Box$400] B.S. \item[$\Box$401] B.A. \item[$\Box$402] B.F.A. \item[$\Box$403] M.S. \item[$\Box$404] M.A. \item[$\Box$405] M.F.A. \item[$\Box$406] Ph.D. \item[$\Box$407] Art - all forms (fine art, animation, commercial) \item[$\Box$408] Biology \item[$\Box$409] Business Administration \item[$\Box$410] Chemical Engineering \item[$\Box$411] Civil Engineering \item[$\Box$412] Computer Science \item[$\Box$413] Engineering, General \item[$\Box$414] Electrical Engineering \item[$\Box$415] Liberal Arts \item[$\Box$416] Mathematics \item[$\Box$417] Mechanical Engineering \item[$\Box$418] Physics \item[$\Box$419] Psychology \item[$\Box$420] Medicine \item[$\Box$421] You Have Formal Computer Graphics Education \item[$\Box$422] You Have On the Job training in Computer Graphics \end{itemize} \item {\bf STATE OF YOUR PROFESSION} {\tiny (based on Application areas and Job Functions listed above):} \begin{itemize} \item[$\Box$500] 1 year outlook: looks good (room for growth of existing jobs as well as new jobs) \item[$\Box$501] 1 year outlook: looks stable (closed to/or difficult for new applicants) \item[$\Box$502] 1 year outlook: looks bad (job stability questionable; new applicants should avoid) \item[$\Box$503] You like your work - you get good job satisfaction \item[$\Box$504] You would recommend someone get into your Application area \item[$\Box$505] Your job pays the bills, but you are lukewarm about things \item[$\Box$506] You do not like your work - minimal job satisfaction \item[$\Box$507] You would advise someone NOT to get into your Application area \end{itemize} \item {\bf IF YOU ARE A MANAGER: RATE IMPORTANCE OF ITEMS for HIRING;\\ IF YOU ARE AN EMPLOYEE: RATE IMPORTANCE OF ITEMS TO YOU:} \\ {\tiny (If you checked 025 or 026, you do management)} \begin{itemize} \item No box checked = no importance whatsoever \item 1 = very little importance \item 2 = below average importance next to other criteria \item 3 = average importance \item 4 = above average importance \item 5 = extreme importance \item \item[---] {\normalsize 1 - 2 - 3 - 4 - 5} \item[600] $\Box$ $\Box$ $\Box$ $\Box$ $\Box$ Computer Programming Skills \item[601] $\Box$ $\Box$ $\Box$ $\Box$ $\Box$ Mathematical Background \item[602] $\Box$ $\Box$ $\Box$ $\Box$ $\Box$ Science Background \item[603] $\Box$ $\Box$ $\Box$ $\Box$ $\Box$ Artistic Ability \item[604] $\Box$ $\Box$ $\Box$ $\Box$ $\Box$ Creativity \item[605] $\Box$ $\Box$ $\Box$ $\Box$ $\Box$ Written Communications Skills \item[606] $\Box$ $\Box$ $\Box$ $\Box$ $\Box$ Oral Communications Skills \item[607] $\Box$ $\Box$ $\Box$ $\Box$ $\Box$ College Degree (BS, BA) \item[608] $\Box$ $\Box$ $\Box$ $\Box$ $\Box$ Graduate College Degree(s) (MS, MA, Ph.D) \item[609] $\Box$ $\Box$ $\Box$ $\Box$ $\Box$ On the Job Training (entries can grow and learn) \item[610] $\Box$ $\Box$ $\Box$ $\Box$ $\Box$ No on the Job Training (walk in ready-to-go) \item[611] $\Box$ $\Box$ $\Box$ $\Box$ $\Box$ Student Internship (practical work while going to school) \item[612] $\Box$ $\Box$ $\Box$ $\Box$ $\Box$ Years of Experience \item[---] {\normalsize 1 - 2 - 3 - 4 - 5} \end{itemize} \end{itemize} \pagebreak \begin{itemize} \item {\bf COMMENTS:} \item \_ \hrulefill\ \_ \item \_ \hrulefill\ \_ \item \_ \hrulefill\ \_ \item \_ \hrulefill\ \_ \item \_ \hrulefill\ \_ \item \_ \hrulefill\ \_ \item \_ \hrulefill\ \_ \item \_ \hrulefill\ \_ \item \_ \hrulefill\ \_ \item \_ \hrulefill\ \_ \item {\bf Suggested Additions:} \item \_ \hrulefill\ \_ \item \_ \hrulefill\ \_ \item \_ \hrulefill\ \_ \item \_ \hrulefill\ \_ \item \_ \hrulefill\ \_ \item \_ \hrulefill\ \_ \item {\bf Suggested Deletions:} \item \_ \hrulefill\ \_ \item \_ \hrulefill\ \_ \item \_ \hrulefill\ \_ \item \_ \hrulefill\ \_ \item \_ \hrulefill\ \_ \item \_ \hrulefill\ \_ \end{itemize} Please Mail your completed questionaire to: \hspace{1. in}\begin{verse} Stephan R. Keith\\ ACM/SIGGRAPH Careers Questionnaire\\ 424 Custer Road\\ Hayward, CA 94544\\ \end{verse} \end{document} Employer Needs: Computer Graphics In Advertising And Design Educators, employers, and potential employees are looking for guidelines as to what qualifies people for the rapidly growing field of computer graphics. Advertising and design professions are expected to employ uniquely talented people in jobs that will be created in the next two to five years. This article is intended to provide direction for people who link a field which is beginning to benefit from computer technology with people who are considering a career in computer graphics. The term "design" is used to mean graphic design, the highly specialized adjunct to the advertising industry. Case #1: A nine-member advertising firm in a major north eastern city uses a Macintosh with PageMaker software to write ad copy for its corporate clients. The design department pastes up true text produced on a laser printer. This system was developed in the past year by a recently graduated English major who has grown from administrative duties to copy writing on the personal computer. Case #2: Two veterans of the publishing and computer industries saw the need for the preparation of text and full-color pictures for commercial printing to be done on inexpensive workstations. Their first employee was anart teacher with graphic design and computer experience. She creates visual and spoken presentations, demonstrates the system, and trains new users. The infancy of the job market in computer graphics for advertising and design makes it impossible to describe concrete employer requirements in these fields. Instead it seems more reasonable and useful to derive requirements in these fields from employers in a variety of specific applications. For example, the human requirements of a company producing television commercials are quite different from those of a large volume printer of glossy magazines. Interview results will follow, culminating in a "computer artist profile" and an analysis of the future needs of the job market. Current uses of computers in advertising, design and commercial publishing go beyond the administrative use of personal computers and small multiuser systems. Even the generations of large, stand-alone, single task computers that set type, make up pages, retouch images, and edit film are beginning to look like dinosaurs. Now dedicated workstations and integrated systems built around minicomputers with graphics capabilities and expanded memory are used to aid design and production and to educate and sell through business presentations. REQUIREMENTS Requirements are the true center of this article. What kinds of employers are there in computer graphics for advertising and design? What are the expectations vs. the real benefits of computer graphics as a design tool? And finally, what are employers looking for? KINDS OF EMPLOYERS The key to the advertising and design business is communicating aesthetically. Computer graphics in these fields is a tool to accomplish that end. The application determines the need for image quality and sophistication and for corresponding taste, skill and knowledge by the computer artist. Advertising In advertising, the need is to represent full-color images and high quality text for client approval. Resizing images, rewording, and rearranging text and pictures are all common operations. Currently, workstations whose strengths lie in electronic painting and shape-oriented image creation are in use for illustration and page design. As in the following applications, the technology for output onto paper in full color lags behind the imaging and text. Some enterprising ad agencies provide the capability for information to be sent over phone lines so that clients can approve the ad on their own computers instead of looking at a proof that is lower quality than they are used to seeing. As in the above example of the small advertising firm, printing out the ad copy on a laser printer and pasting it manually onto the comp is an intermediate step to full page design on screen. Systems such as TimeArts' EVA are strong on color illustration; the Apple with various software does text and some black and white illustration. A design artist starting a job today would be asked to do one or the other, depending on computer experience, but probably not both at first. According to Peggy Stutts, copy writer at Calderhead and Phin, New York City, the large ad agencies are not even using word processing much yet for copywriting. Similarly, in publishing, writers have been slow to take advantage of the ability to edit more quickly. However, the thinking process can be improved by a computer, because the writer can use the time previously spent manually cutting and pasting to think instead. Agencies whose small size requires employees to "wear more than one hat" create an innovative atmosphere that invites the application of computers to old tasks. In fields where the job market for computer artists is more developed, more highly specialized skills are needed. In all areas, the artistic taste that comes from working with people with high standards and the knowledge that comes from thorough training are essential. Graphic design Graphic design has benefitted from the interest and advances in desktop publishing over the last two years. More of the design process, at least in black and white, is possible on computers. Graphic designers are devoted mainly to arranging information on a page to get a desired response. The information consists of text, graphic elements of various kinds, and images. Graphic designers are typically more concerned with the aesthetic qualities of type than ad agency staff, and incidentally, are more entrepreneurial. The low cost of producing type for design in black and white on personal computers, combined with the ease of use, makes the text orientation a good place for potential employees to get some experience. Dedicated workstations, such as those made by Lightspeed, allow full-color image manipulation with greeking and complex layout changes. Training time may be one day or more and is usually provided to proven employees rather than newly hired ones. Wendy Richmond, computer graphic design consultant and columnist for Communication Arts magazine, emphasizes the graphic design training and experience required to bridge the gap between manual and computerized work. Her background includes design research and development for Camex, a manufacturer of computer systems for newspaper publishing, for Bitstream, a company recognized as a leader in digital type, and for Lightspeed, manufacturer of graphic design workstations. Computer graphics in graphic design is currently a very limited market for computer artists. Very few systems provide services graphic designers can justify in cost, and many graphic design jobs require intricate manual skills and complex thought processes that are learned on the job. Graphic design firms now interested in computer graphics tend to be innovators, so a demonstrated taste for trying new things puts prospective employees in an appealing light. Animation Animated computer graphics have been used in television commercials and music videos for several years. They are produced on very expensive systems such as the Quantel Paintbox. Skilled retouching of colors and shapes are required, because these systems allow the artist to collage parts of various images, as illustrated in the Cars' award-winning video by Charlex. Computer artists with 3 or more years experience are considered for the openings in this glamorous, limited field. Judson Rosebush, author, and creator of The Optical House, New York, describes in further detail the kinds of opportunities he provides as an employer in computer graphics animation for advertising. He tends toward "first hires" in the industry. That is, he finds people in other fields and trains them according to how their temperaments, talent in various areas, and their strengths fit his needs. Graphic artists begin as animators, then depending on interest and background, go on to programming and operation in graphics and text. The creativity factor is central to this particular company, as its head sees creativity throughout the organization in simple alertness and problem solving. Business presentations Computer graphics in business presentations is becoming established as dedicated workstations of Genigraphics, Artronics and others are added to and sometimes replaced by new software for minicomputers. Skill is needed at producing slides that call the viewer to action with simple illustrations and a few lines of text (a more difficult assignment than is commonly appreciated). This skill can be honed with practice on readily available Apple and Amiga personal computers. Dianne Kadah is an artist who established a computer graphics production department at Philip Morris, where she was able to differentiate between the characteristics of fine artists and graphic artists. The creative style of the artist has to be suited to the commercial environment: the ability to assimilate information and to decide on the best way to get a certain result among various possibilities, always keeping the clients' expectations in mind. Compare the rational style of Escher to the emotional style of Van Gogh to uncover some of the difference. In a small, highly specialized corporate department such as hers, newly hired employees need an undergraduate degree in commercial arts and 3-5 years experience with the company product line or in the installed computer equipment itself. The portfolio for business presentations, as for the other categories, should show "design sense." Design sense for the business slide creator's job means, for instance, a limitation on the number of typefaces used-- rarely more than two in a series of slides. Actual slides should comprise the portfolio whenever possible. Neatness, clarity, and conciseness make the portfolio look professional. Some new jobs in computer graphics may not require a portfolio because enthusiastic entrepreneurs who are drawn to an exciting, rapidly developing field may not know what they are looking for. In that case, the prospective employee is more likely to have an opportunity to create a job according to individual tastes and drive. EXPECTATIONS VS. REAL BENEFITS Employers considering the operation of computer graphics equipment have various expectations of what the new technology can do. 1) Creativity Do advertising and design fields really have a greater need for freshness and originality than manufacturing, government or education? If so, is the potential for computer graphics greater in these "creative" fields? Novelty and surface appearances, at least, are valued more highly. Televison commercials will exploit the novelty of the latest advances in computer animation until the next fad appears. Meanwhile, the development of computer graphics as a two- and three- dimensional design tool and for manipulation of images during the production stages of commercials and printed matter will continue. Computer graphics become deeply established in processes where they save time in extremely deadline-dependent businesses, such as magazine production, where last minute changes are the rule. The Director of the Pratt Center for Computer Graphics in Design in Hawthorne, New York, Perry Jeffe, administers a program which provides designers with information on choosing equipment. He advises that computer graphics enhances mental flexibility, a key characteristic of creative processes. It allows the designer to get to more information more easily, which is of profound benefit to the research phase of design. The uninitiated fear computer graphics systems will decrease creativity, but this fear is partly based on the relative clumsiness of the early technology. Rapid changes in the technology and configurations of computer graphics systems are all in the direction of ease of use and increased capability--these factors enhance creativity. If a fearful person can be coaxed to try creating on a computer graphics system, that one try is sometimes all that is needed to dispel the fears. A knowledgeable, patient teacher is of course a boon. 2) Production speed Computer graphics are well established in business presentation graphics partly because the technology closely matches the needs of this market for simple images with some text, produced in great quantities on tight deadlines. Many a corporate art department is called on at 4:00 p.m. to produce 100 slides for a board meeting at 10:00 a.m. the next day. In contrast, the increased needs of advertising and design fields for intricate manual skills are just beginning to be addressed by computer developers. The pressure to produce mechanicals on a tight deadline for client approval and then for printing is matched by the pressure for quality. The quality norms in these fields are the highest possible, specifically, the sharpness and selection of type, the matching, richness and variety of color, and simply stated, the accuracy of getting what the designer intends out of the computer system. 3) Cost efficiency Employers expect the financial benefits to weigh effectively against the cost of operating the computer graphics system. Of course, the creative advantage may outweigh the initial investment, but no one stays in business for long if the profits do not materialize. The decision makers are looking at not only the cost of equipment, but also training time and support contract costs, as well as cost of the computer artists' salaries and benefits. Computer artists joke that they are no different from other artists, only hungrier. Many fine artists reach a decision to make a living using some of their skills, and turn to computer graphics as one alternative to starvation. Computer graphics salaries range from $15,000-$40,000, depending on experience and geographical location. Artists who succeed in computer graphics are committed to the hunger for new experience, the need to be at the frontier where unique qualities and initiative are highly valued. Such romanticism will likely prevail until computer graphics technology and markets mature and become truly part of the mainstream. SUMMARY The following is a profile of a computer artist. It was derived from the combined experience of employers and consultants in computer graphics, especially Wendy Richmond and Mills Davis. The computer artist has a liberal arts background with design education, has an intuitive sense of color, and is experienced in the choice and arrangement of type. He or she has proven interest in computers by gaining experience where possible on personal computers. Most important of all, the artist has an open, even enthusiastic, attitude towards learning computer graphics. Talent, while subjectively evaluated, is more important in a creative process than a production environment. The personality traits that lead to commitment to the liberal arts fit the mental flexibility required to learn a new system. Interestingly, familiarity with specific equipment is not a high priority with employers. Many are buying newly developed systems anyway, and the open attitude and experience with color and type are far more predictive of success. Future Needs of the Job Market Technological advances affecting the small computer, combined with its increased acceptance in the home and school, mean its impact on the job market will likely increase. Personal computer-based systems for the kinds of businesses described above will lower costs and expand capabilities. The result will be a wider range of benefits to employers, and consequently a wider range of jobs available. Visual communications skills will be in even greater demand, although less technical knowledge will be needed to master these systems as they become easier to use. As we see in the current wave of unskilled graphic design produced by desktop publishers, many people driven to use computers to communicate simply don't know what they don't know. A computer is a tool for enhancing visual and verbal communication: a more complex tool than a brush or pen, to be sure, but no more than a tool. A computer can enhance the taste and knowledge of the person using it; it cannot replace these essential qualities. ANNETTE BURR COAN is director of training at Publishing Technology, Inc. She was educated at Vassar College and the University of Maine and trained in graphic design and computer graphics at Parsons School of Design. She is the art teacher described in Case #2 at the beginning of the article. INSERT BOX "WOULD YOU BE HAPPY in a career in computer graphics in the arts?" Questions for computer graphics students: 1. Do I have formal training in graphic design, painting or illustration? 2. Do I like working on computers? 3. Do I enjoy finding new solutions to familiar problems? 4. Can I criticize my work and learn from my mistakes? 5. Do I enjoy working with color and with text? Which do I prefer? 6. Do I have trouble following directions? 7. Do I enjoy giving people a message, though I may never see their reaction? Portrait of a Computer Artist Theresa-Marie Rhyne Computer artist/independant art educator P.O. Box 3446 Stanford, California The life-style of a contract computer artist is not very different from that of a free-lance commercial photographer or a consulting engineer. You must have a desire to be self-employed and possess a high level of self- confidence in order to market your talents. You also need to have effective visual, spoken, and written communication skills, as well as an affinity for working with computer technology. In some areas,you may also need more technical skills. There are numerous ways to gain the knowledge or educational background connected with technical and visualization skills in computer graphics (see Computer Graphics 20(2), February 1986). Although I gained my skills by working in a computer center at Stanford and teaching myself how to use the Lisa and Macintosh computers, colleges are now offering courses or programs in computer graphics (see Computer Graphics, November, 1985). Now, whether formally trained or self taught, you can become qualified to be a computer artist. But without persistence and risktaking...there is no glory, and very likely no paycheck. You must develop your identity as a practicing contract computer artist or technical communicator. The first step is to take an inventory of your skills in computer graphics. Are you best at creating slides for presentations, programming,directing the generation of images on large mainframe computers, rendering on computer- aided design systems, or drawing with the aid of painting software? A good way to evaluate your skills is to think about the things that you spend the most time doing and enjoy doing the most, and also whether or not other people like the work that you do. Be sure to have other people review and critique your work to determine whether it is something others would be willing to buy. The next task is to develop the portfolio which permits marketing of your talents. A portfolio defines an artist's style and technique. Assuming that you are interested in and skilled in several of the areas mentioned above, a single portfolio should not contain all of these things. You might have several portfolios, each illustrating your skills in a given area. These presentations are best when they define the current skills of the individual computer artist, along with future aspirations. Now, here we go out into the real world of computer-generated images. You can market computer arts services to various groups of businesses and professionals. You can sell desktop publishing design skills to small businesses as well as corporate accounts. Professionals in the legal, medical, and educational fields can have enhanced presentations with your computer-created slides. (As an example, you might create cover designs for alumnae publications.) The essential aspect of effective marketing, from the artist's perspective, is the strength to endure many rejections in exchange for one or two acceptances. The people who are successful in this field are the very persistent ones. One way to find out about potential clients is to attend conferences and keep track of acquaintances. For example, printing companies may want to contract art work for publications. Attend printers conferences. Make some slides of what you can do, and be prepared to sell the concept of artistic design, as well as the specific art work. Find out about arts organizations and small companies in the area. People frequently need signs. One of my recent assignments was the brochure and ticket design for a symphony orchestra. Once you have a client, it is time to figure out terms of payment which may or may not be substantial. Contract computer artwork is frequently negotiated on a lump-sum, hourly, or combination basis. You may be paid $15-$50 an hour for a normal job. If you are hired on a project to create computer art, often you will be asked to quote an hourly rate for your services or to estimate the cost of the job. This is a process of guessing and learning. Figure out your own hourly rate, talk with other computer artists to be aware of going rates, and learn from your mistakes of under-estimation of time required to complete a given job. Above all, be prepared to give an estimation on the spot. If you go home and come back two days later, you are not likely to get the job. If a client is buying an already created image from your portfolio, quote a price for the artwork without hesitation. Also, keep the copyright privileges on your artwork unless the client wishes to provide you with a financial offer you cannot refuse for these copyright privileges. An artist can sell an image and still maintain some control over image reproduction filing and retaining copyright privileges. In dealing with copyright issues and future matters of royalties, it is a good idea to consult the legal profession and to develop marketing approaches which end in the formulation of a contract. In San Francisco, The Bay Area Lawyers for the Arts, Fort Mason Center, will provide services for practicing artists. For further information about how to copyright images, see "Are Your Images Being Ripped Off?", IEEE Computer Graphics and applications, March, 1986. Here is a closing piece of advice on being a practicing computer artist. Keep in touch with colleagues. (ACM-SIGGRAPH is an excellent way to do this.) By maintaining contacts, you have more opportunities to do new, interesting things as desired. Expand your future horizons as to the types of computer graphics projects you would like to be doing, and keep up with the changing technology.