ACM SIGGRAPH Career Handbook

Home , Andries van Dam, Judson Rosebush, Michael Loceff, Mindset (computer), Motion graphics

Computer Graphics Career Handbook

Ed Ferguson University of Maine

Laura Carey Halas Innovative Software Solutions

Catherine Shadden Keith Design Department, Alameda County

Stephan R. Keith Sterling Software

Bob Powell Island Graphics Corporation

acm

ii iii ACM SIGGRAPH Education Committee The Association for Computing Machinery, Inc. 11 West 42nd Street New York, New York 10036

Copyright © 1991 and 1988 by the Association for Computing Machinery, Inc. Copying without fee is permitted provided that the copies are not made or distributed for direct commercial advantage and credit to the source is given. Abstracting with credit is permitted. For permission to republish write to: Director of Publications, Association for Computing Machinery. To copy otherwise, or republish, requires a fee and/or specific permission.

The SIGGRAPH Education Committee is sponsored by the Association for Computing Machinery's Special Interest Group on Computer Graphics.

ORDERING INFORMATION

To request price information and order copies, contact:

ACM Order Department P.O. Box 64145 Baltimore, Maryland 21264 (301) 528-4261

SIGGRAPH member price: Non-member price: ACM Order Number: 429-891

For SIGGRAPH membership information, contact:

ACM 11 West 42nd Street New York, New York 10036 (212) 869-7440

For SIGGRAPH annual conference information, contact:

SIGGRAPH Conference Office 111 East Wacker Drive Chicago, Illinois 60601 (312) 644-6610

ACM ISBN 0-89791-313-2 ACM ISSN 0097-8930

iv Disclaimer

The Selected Readings presented throughout this document are representative examples of many publications addressing the various elements of computer graphics and career issues. These publications are listed alphabetically by title in each section of the handbook. Listing of any specific publication does not imply ACM or SIGGRAPH endorsement.

The information presented in Section 5, "Company Statistics", was compiled from a questionnaire mailed to all of the SIGGRAPH '89 conference exhibitors and prior contributors. Listing any specific company does not imply ACM SIGGRAPH endorsement. ACM SIGGRAPH is not responsible for the accuracy of the information provided by respondents to the questionnaire.

The opinions expressed in this handbook are not necessarily those of ACM or SIGGRAPH.

v Acknowledgements

This material is based upon work supported by ACM SIGGRAPH. We would like to thank Maxine Brown and Sara Bly, former SIGGRAPH Vice Chairs for Operations, and Tom DeFanti, former SIGGRAPH Chair, for their very early, active support of this project, and Richard J. Beach, ACM SIGGRAPH, Editor-in-Chief.

We would also like to thank all of the SIGGRAPH Executive Committee members, especially Judith R. Brown, SIGGRAPH Vice Chair for Operations and former Computer Graphics Career Handbook Chair, Dr. Steve Cunningham, former Education Committee Chair, and Scott Owen, Education Committee Chair, for their enthusiastic support of this and other Education Committee activities.

vi CONTENTS

ACKNOWLEDGEMENTS iv

INTRODUCTION ix

CAREERS IN COMPUTER GRAPHICS 6

NO "COMPUTER GRAPHICS" JOBS IN THE CLASSIFIEDS 12

CATEGORIES

Introduction

The ACM SIGGRAPH Education Committee surveyed Computer Graphics professionals in 1986 and published the results in the first edition of this handbook. Another survey was conducted in 1989 and early 1990. The results are presented in this handbook edition. No attempt has been made to interpret the results of either suvey.

The data prepresented was compiled from questionnaire responses from active computer graphics professionals in urban areas, who are generally members of SIGGRAPH.

Our questionnaire gathered information to help those individuals who are interested in entering a field of computer graphics to get a better understanding of the various career application areas. The data includes special training or skills which are useful in particular application areas. The categories for application areas we identified are:

Art/Animation CAD/CAM/CAE Image Processing Presentation Graphics Simulation Systems Design Systems Software Systems Hardware Scientific Visualization

Each application area was further broken down into different kinds of professional involvement, as follows:

Consultants: people who advise on, assist with, or implement computer graphics hardware, software and/or systems as independent contractors.

Designers: people who design and construct hardware, software and/or systems to do computer graphics.

Educators: people who teach the principles, practices and usage of computer graphics hardware, software and/or systems.

Managers: people who manage personnel and/or project resources to accomplish tasks or create products for computer graphics.

Researchers: people who do research in computer graphics.

Users: people who use computer graphics for applications in their jobs. CATEGORIES 2.0 Introduction page 19

Observations The results of the 1986 SIGGRAPH Computer Graphics Careers survey allowed us to make three observations, which were corroborated in the 1989/90 survey.

The First Observation

Most computer graphics professionals are multidisciplinarians. Everyone who responded to the questionnaire works in at least two applications areas, and some work in as many as four application areas.

This makes sense when we recall that computer graphics was originally an experimental field. Many aspects of computer graphics are still in experimental stages of development. In order to make early computer graphics systems work, people needed to learn computer languages, operating systems, hardware and communications as well as computer graphics. Since there were often no resources to support the highly specialized needs of computer graphics, computer graphics experimenters had to do the work themselves. This forced them to develop general skills. Computer graphics software and hardware products have improved, but a person working in computer graphics will fare better with some knowledge and experience in as many areas as possible.

The Second Observation

Our next observation is that written and personal communications skills are extremely important for computer graphics professionals. The general category identified as Commu- nications Skills was described as very important by 80% to 98% of the respondents, depending on their application area. It is interesting that there is such strong agreement on a skill that is not technical and is not related to computing. There are two reasons for this agreement.

One reason personal communications skills are important is that computer graphics is by nature a communications medium. To use it effectively, you need to know how to formulate your ideas and how to communicate your thoughts and ideas efficiently, both visually and in writing. Hence, our study corroborated the need for such skills.

The second reason graphics people need personal communications skills is to be able to convince others to buy or use computer graphics. To get someone to buy or use computer graphics, you must convince the people with the money that it’s a good idea. Usually, the agencies with the money do not have the technical knowledge to make a financially wise decision. Even when they hire someone who can make a wise technical decision, they still need justification. Whether you are advertising a product to sell or preparing a proposal for your manager to purchase equipment, you must be convincing. Although computer graphics systems are much more advanced and less expensive than they once were, they still cost money and are often considered a luxury item. You must be able justify the expense. It is our experience that project budgets require clear, well presented proposals. While not all proposals make it to the project state, no project will even get started without a proposal.

The Third Observation

Our last observation from the SIGGRAPH careers survey is that UNIX is becoming the operating system of choice, and C the programming language of choice, for computer graphics work. This may be a result of the existence of so many computer graphics 2.0 Introduction SIGGRAPH CAREER HANDBOOK page 20

workstations with UNIX and C compilers. Other operating systems used for graphics include VMS, found on DEC computer systems, and MS/DOS, found on many personal computers. Other languages for graphics include FORTRAN and PASCAL.

1989 Survey Results In the 1986 careers survey, we observed some commonly used skills, which included UNIX, C and Communications Skills. In the 1989/90 careers survey, we observed a greater degree of commonly required skills. These skills are used in all application areas and are employed by 45% or more of the 1989/90 survey respondents:

Computer Skills: structured software design, programming, data structures, the C programming language, UNIX and operating systems principles. (FORTRAN was next, used by 30% to 40% of the 1989/90 survey respondents. PASCAL and LISP were the third and fourth in programming language choices.)

Non-Computer Skills: communications (94% to 100%), writing, public speaking, presentation, personal management, management, technical management, graphics arts, color.

Computer Graphics Skills: the required skills did vary widely dependent upon the application area, which are described in detail in the following Categories Section.

With regard to hiring criteria, although there was some slight variation from the mean, there was general concurrence across all application areas. Hiring critieria were specified based upon their level of importance. A zero meant it was of no significance. A one meant least importance; a three meant average importance. Five signified extreme importance. Here are the results:

Computer Programming Skills 5 Mathematical Background 3 - 4 Science Background 3 Artistic Ability 3 Creativity 5 Written Communications Skills 3 - 5 Oral Communications Skills 4 - 5 College Degree (B.S., B.A.) 3 College Degree (M.S., M.A., Ph.D.) 3 Job Training (entry level) 3 No Job Training (go to work) 3 Student Internship 3 Years of Experience 4

Summary

Since graphics people tend to be multidisciplinarians, the survey results suggests that computer graphics professional should be knowledgable of the UNIX, VMS and MS/DOS operating systems. It also suggests that a knowledge of C, FORTRAN and PASCAL would be helpful. Other knowledge may also be helpful, depending on your application. For example, where Expert Systems, Artificial Intelligence and Computer Graphics are mixed, the LISP language is widely used. CATEGORIES 2.0 Introduction page 21

Selected Readings

Selected general readings are provided for each application area. The following is a list of books on computer graphics.

• The Beauty of Fractals H. Pietgen, P. Richter, ©1986, Springer-Verlag • Computer Graphics Donald Hearn, M. Pauline Baker, © 1983, Prentice-Hall • Computer Graphics, Tutorial Kellogg S. Booth, ©1979, IEEE • Fundamentals of Interactive Computer Graphics, J.D. Foley, Andries Van Dam, © 1982, Addison-Wesley • Introduction to the Graphical Kernal System (GKS) F.R.A. Hopgood, D.A. Duce, et al., © 1983, Academic Press • Mathematical Elements for Computer Graphics David F. Rogers, J. Alan Adams, © 1976, McGraw-Hill • A Practical Introduction to Computer Graphics Ian O. Angell, © 1984, McMillian Press • Principles of Interactive Computer Graphics William F. Newman, Robert F. Sproull, © 1979, McGraw-Hill • Procedural Elements for Computer Graphics David F. Rogers, © 1985, McGraw-Hill • Techniques for Computer Graphics David F. Rogers, Rae A. Earnshaw, © 1987, Springer-Verlag • Tutorial, Interactive Computer Graphics Herbert Freeman, ©1984, IEEE 2.0 Introduction SIGGRAPH CAREER HANDBOOK page 22 CATEGORIES 2.1 Art/Animation page 23

Art/Animation

Definition - Art and Animation 24

Careers Questionnaire Statistics 24

Selected Readings 25 2.1 Art/Animation SIGGRAPH CAREER HANDBOOK page 24

ART/ANIMATION

Definition - Art and Animation

Art and animation applications use computers to create fine and commercial art. Computer generated art may be used for advertising, publications or film making. Computer animation can take either two-dimensional or three-dimensional form. Two- dimensional animation uses flat images for creating characters and/or backgrounds. Three-dimensional animation requires modeling or model design. Geometric models are stored in a computer and can be rotated, translated and scaled as needed to create and manipulate images. More sophisticated three-dimensional animation systems allow the design and manipulation of complex scenes and characters for film making. Most three- dimensional animation is used in advertising.

Careers Questionnaire Statistics

Most respondents hold one or more of the following college degrees:

Discipline Degree Requirements

Art B.F.A. or M.F.A. Computer Science B.S. or M.S. Mathematics B.S., M.S. or Ph.D.

The skills within each of the following categories are listed in order of importance by the largest number of respondents:

Computer Skills: Programming [74%], C [68%], UNIX [62%], Data Structures [48%], FORTRAN [22%], Software Engineering [44%], Structured Software Design [42%]

Non-Computer Skills: Communication [96%], Writing [86%], Personal Manage- ment [86%], Presentation [78%], Public Speaking [70%], Graphic Arts [68%], Color [52%], Technical Management [50%], Traditional Animation [49%]

Computer Graphics Skills: Computer Graphics Fundamentals [80%], Raster Graphics Techniques [78%], 3D Computer Graphics [74%], 3D Computer Anima- tion [70%], 2D Computer Graphics [68%], Video Graphics Techniques [62%], Image Rendering Techniques [60%], 2D Computer Animation [56%] CATEGORIES 2.1 Art/Animation page 25

State of the Profession

1989/90 1986

76% 79% liked their work; 16% 70% think entry into the field looks good over the next year; 54% 42% recommend that others enter this professional area. 42% n/a have formal Computer Graphics Training 72% n/a have on the job training 50% n/a are self taught

Selected Readings

• Computer Graphics for Designers and Artists I.V. Kerlow, J. Rosebush © Van Nostrand Reinhold

CAD/CAM/CAE

Definition - CAD/CAM/CAE 28

Careers Questionnaire Statistics 28

Selected Readings 29 2.2 CAD/CAM/CAE SIGGRAPH CAREER HANDBOOK page 28

CAD/CAM/CAE

Definition - CAD/CAM/CAE

CAD, CAM and CAE mean Computer Aided Design, Computer Aided Manufacturing, and Computer Aided Enginering respectively. These areas represent one of the largest and most well established uses of computer graphics. Computer Aided Design personnel use CAD workstations to design a tremendous range of things, including cars, engine parts, complex computer circuitry, and airplanes. CAM personnel use the results of CAD work to manufacture parts. Very often, CAM software will produce machining control tapes, called NC tapes, to drive milling machines to mass produce parts. CAE personnel use computer graphics to aid in solving engineering problems, such as systems design.

Careers Questionnaire Statistics

Most respondents hold one or more of the following college degrees:

Discipline Degree Requirements

Computer Science B.S., M.S. or Ph.D. Mathematics B.S., M.S. or Ph.D.

The skills within each of the following categories are listed in order of importance by the largest number of respondents:

Computer Skills: Programming [83%], C [72%], Data Structures [69%], Software Engineering [63%], Structured Software Design [61%], UNIX [61%], FORTRAN [25%], PASCAL [7%]

Non-Computer Skills: Communication [91%], Writing [83%], Personal Manage- ment [75%], Presentation [69%], Public Speaking [66%]

Computer Graphics Skills: Computer Graphics Fundamentals [77%], 3D Com- puter Graphics [75%], 2D Computer Graphics [72%], Raster Graphics Techniques [69%], Computer Aided Design Principles [66%], Vector Graphics Techniques [52%], Wireframe [52%], Spline Algorithm Techniques [50%], Video Graphics Techniques [52%], 3D Computer Animation [47%], Image Rendering Techniques [44%], Solid Modeling Principles [44%], Freeform Curves and Surfaces [44%], Phong Shading Principles [41%] CATEGORIES 2.2 CAD/CAM/CAE page 29

State of the Profession

1989/90 1986

80% 77% like their work; 75% 57% think entry into the field looks good over the next year; 66% 60% recommend that others enter this professional area. 30% n/a have formal Computer Graphics Training 52% n/a have on the job training 50% n/a are self taught

Selected Readings

Presentation Graphics

Definition - Presentation Graphics 32

Careers Questionnaire Statistics 32

Selected Readings 33 2.3 Presentation Graphics SIGGRAPH CAREER HANDBOOK page 32

PRESENTATION GRAPHICS

Definition - Presentation Graphics

Presentation graphics includes using graphics to prepare any form of corporate presentation. It is a smaller but well established professional concern in the graphics field. Presentation graphics includes business graphics, which use pie charts, bar charts and other forms of graphic representation and enhancement of data to communicate quantitative information. Other management tools such as time management charts and PERT, or critical-path charts, use graphic techniques to help guide and manage personnel, resources, projects, and manufacturing.

Careers Questionnaire Statistics Most respondents hold one or more of the following college degrees:

Discipline Degree Requirements

Art B.F.A. or M.F.A. Computer Science B.S. or M.S. Mathematics B.S. or M.S.

The skills within each of the following categories are listed in order of importance by the largest number of respondents:

Computer Skills: Programming [80%], C [66%], UNIX [60%], Data Structures [60%], Operating Systems [58%], Structured Software Design [58%], Other Oper- ating Systems (VMS, MVS, MSDOS), FORTRAN [38%], PASCAL [22%]

Non-Computer Skills: Communications [98%], Writing [92%], Personal Manage- ment [90%], Presentation [82%], Public Speaking [66%], Technical Management [64%], Graphic Art [64%], Color [56%]

Computer Graphics Skills: Computer Graphics Fundamentals [78%], Raster Graphics Techniques [76%], 2D Computer Graphics [76%], 3D Computer Graphics [68%], Vector Graphics Techniques [56%], Video Graphics Techniques [48%], Wireframe [48%], Image Rendering Techniques [46%], 3D Computer Animation [44%], 2D Computer Animation [38%] CATEGORIES 2.3 Presentation Graphics page 33

State of the Profession

1989/90 1986

80% 78% like their work 78% 67% think job entry looks good over the next year; 66% 42% recommend that others enter this professional area 24% n/a have formal Computer Graphics training 62% n/a have on the job training in Computer Graphics 58% n/a are self taught in Computer Graphics

Selected Readings

Simulation

Definition - Simulation 36

Careers Questionnaire Statistics 36

Selected Readings 37 2.4 Simulation SIGGRAPH CAREER HANDBOOK page 36

SIMULATION

Definition - Simulation

Graphics simulation is different from ordinary computer simulation, although they may overlap somewhat. While computer simulation may use computer graphics, graphics is not the primary tool. For example, a simulation of automobiles on a busy boulevard is a statistical study rather than a visual one, although computer graphics is used to show models of cars on the road. Graphics simulation has come to mean the use of computer graphics to represent any form of dynamic physical phenomenon. As an example, a supercomputer may be used to simulate the collision of galaxies and generate a set of data.

Careers Questionnaire Statistics

Most respondents hold one or more of the following college degrees:

Discipline Degree Requirements

Computer Science B.S., M.S. or Ph.D. Mathematics B.S., M.S. or Ph.D. Physics B.S., M.S. or Ph.D.

The skills within each of the following categories are listed in order of importance by the largest number of respondents:

Computer Skills: Programming [81%], C [77%], UNIX [74%], Software Engineer- ing [70%], Data Structures [70%], Structured Software Design [59%], Operating Systems [59%], Assembly Language [55%], FORTRAN [44%], LISP [22%], Simulation Languages

Non-Computer Skills: Communication [92%], Writing [92%], Personal Manage- ment [92%], Presentation [77%], Public Speaking [74%], Technical Management [55%], Management [51%]

Computer Graphics Skills:Computer Graphics Fundamentals [85%], Raster Graphics Techniques [74%], 3D Computer Graphics [74%], 2D Computer Graphics [66%], Wireframe [66%], Spline Algorithm Techniques [55%], Constructive Solid Geometry Principles [51%] CATEGORIES 2.4 Simulation page 37

State of the Profession

1989/90 1986

81% 77% like their work; 85% 59% think job entry looks good over the next year; 66% 35% recommend that others enter this professional area 22% n/a have formal Computer Graphics training 55% n/a have on the job training in Computer Graphics 48% n/a are self taught in Computer Graphics

Selected Readings

• Fractals Everywhere Roger T. Stevens, 1989, M&T Publishing, Inc.

Image Processing

Definition -Image Processing 40

Careers Questionnaire Statistics 40

Selected Readings 41 2.5 Image Processing SIGGRAPH CAREER HANDBOOK page 40

IMAGE PROCESSING

Definition - Image Processing

Image Processing uses a digital image as data to be analyzed instead of as a picture to be displayed. It is a special subfield of the wider engineering area of signal processing. It is used to extract information from images and to sharpen images for presentation. Image processing techniques in computer graphics include correlations, convolutions, motion blur, and anti-aliasing. A strong background in signal processing, mathematics through calculus, and a strong foundation in physics are recommended.

Careers Questionnaire Statistics

Most respondents hold one or more of the following college degrees:

Discipline Degree Requirements

Computer Science B.S., M.S. or Ph.D. Mathematics B.S., M.S. or Ph.D. Physics B.S., M.S. or Ph.D.

The skills within each of the following categories are listed in order of importance by the largest number of respondents:

Computer Skills: Programming [87%], C [78%], UNIX [78%], Data Structures [75%], Software Engineering [69%], Structured Software Design [66%], Operating Systems [63%], Communications [42%], Assembly Languages [42%], FORTRAN [30%]

Non-Computer Skills: Personal Management [96%], Communications [93%], Writing [90%], Presentation [84%], Public Speaking [63%], Technical Management [57%], Management [51%]

Computer Graphics Skills: Computer Graphics Fundamentals [87%], Raster Graphics Techniques [84%], Image Rendering Techniques [84%], 2D Computer Graphics [75%], 3D Computer Graphics [75%], Image Shading Techniques [66%], Wireframe [60%], Video Graphics Techniques [60%], Vector Graphics Techniques [54%], 3D Computer Animation [54%] CATEGORIES 2.5 Image Processing page 41

State of the Profession

1989/90 1986

72% 80% like their work; 81% 64% think job entry looks good; 63% 48% recommend that others enter this professional area 33% n/a have formal Computer Graphics training 57% n/a have on the job Computer Graphics training 48% n/a are self taught in Computer Graphics

Selected Readings

Systems Design, Systems Hardware and Systems Software

Definition - Systems Design, Hardware and Software 44

Careers Questionnaire Statistics 44

Selected Readings 47 2.6 Systems Design, Hardware & Software SIGGRAPH CAREER HANDBOOK page 44

SYSTEMS DESIGN, SYSTEMS HARDWARE, AND SYSTEMS SOFTWARE

Definition - Systems Design, Software and Hardware

Systems design analyzes problems and recommends how a computer system is to be built to meet the problems’ needs. Since these systems involve both software and hardware, there are specializations in these areas as well. System designers must be aware of all the possibilities in graphics hardware and software, must be able to evaluate these possibilities for each problem, and must know when custom solutions need to be built.

Careers Questionnaire Statistics Most respondents hold one or more of the following degrees:

Discipline Degree Requirements

Computer Science B.S., M.S. or Ph.D Mathematics B.S. or M.S. Physics B.S. or M.S. Electrical Engineering B.S. or M.S.

The skills within each of the following categories are listed in order of importance by the largest number of respondents:

Systems Design Computer Skills: Programming [88%], C [78%], UNIX [76%], Data Structures [72%], Software Engineering [76%], Structured Software Design [64%], Operating Systems [60%], FORTRAN [30%], PASCAL [20%]

Non-Computer Skills: Communications [94%], Writing [90%], Personal Manage- ment [84%], Presentation [74%], Public Speaking [66%], Technical Management [58%], Management [56%]

Computer Graphics Skills: Computer Graphics Fundamentals [90%], 3D Com- puter Graphics [84%], Raster Graphics Techniques [78%], 2D Computer Graphics [70%], Image Rendering Techniques [54%], Image Shading Techniques [54%], Vector Graphics Techniques [54%], Wireframe [52%] CATEGORIES 2.6 Systems Design, Hardware & Software page 45

State of the Profession - Systems Design

1989/90 1986

74% 80% like their work; 80% 57% think job entry looks good; 52% 43% recommend that others enter this professional area 34% n/a have formal Computer Graphics training 60% n/a have on the job training in Computer Graphics 50% n/a are self taught in Computer Graphics

Systems Software Computer Skills: Programming [ 90%], C [83%], UNIX [81%], Data Structures [78%], Software Engineering [70%], Structured Software Design [70%], Operating Systems [74%], Assembly Language [52%], FORTRAN [38%], PASCAL [20%]

Non-Computer Skills: Communications [98%], Writing [94%], Personal Manage- ment [87%], Presentation [81%], Public Speaking [70%], Technical Management [54%]

Computer Graphics Skills: Computer Graphics Fundamentals [92%], 3D Com- puter Graphics [78%], Raster Graphics Techniques [83%], 2D Computer Graphics [85%], Image Rendering Techniques [63%], Image Shading Techniques [54%], Vector Graphics Techniques [65%], Wireframe [54%], Z-Buffering [50%]

State of the Profession - Systems Software

1989/90 1986

78% 76% like their work; 81% 63% think job entry looks good; 63% 42% recommend that others enter this professional area 29% n/a have formal Computer Graphics training 54% n/a have on the job training in Computer Graphics 49% n/a are self taught in Computer Graphics

Systems Hardware Computer Skills: Programming [86%], C [81%], UNIX [81%], Data Structures [72%], Software Engineering [63%], Structured Software Design [54%], Operating Systems [60%, 74%, 86%], FORTRAN [40%]

Non-Computer Skills: Communications [100%], Writing [95%], Personal Manage- ment [81%], Presentation [95%], Public Speaking [77%], Technical Management [77%] 2.6 Systems Design, Hardware & Software SIGGRAPH CAREER HANDBOOK page 46

Computer Graphics Skills: Computer Graphics Fundamentals [90%], 3D Com- puter Graphics [68%], Raster Graphics Techniques [81%], 2D Computer Graphics [86%], Image Rendering Techniques [63%], Image Shading Techniques [63%], Vector Graphics Techniques [59%], Wireframe [63%], Z-Buffering [59%], Solid Modeling [63%], Constructive Solid Geometry [59%], CAD Principles [54%], Spline Algorithm Techniques [54%]

State of the Profession - Systems Hardware

1989/90 1986

77% 74% like their work; 86% 74% think job entry looks good; 68% 42% recommend that others enter this professional area 27% n/a have formal Computer Graphics training 59% n/a have on the job training in Computer Graphics 49% n/a are self taught in Computer Graphics CATEGORIES 2.6 Systems Design, Hardware & Software page 47

Selected Readings

Scientific Visualization

Definition - Scientific Visualization 50

Careers Questionnaire Statistics 50

Selected Readings 51 2.7 Scientific Visualization SIGGRAPH CAREER HANDBOOK page 50

SCIENTIFIC VISUALIZATION

Definition - Scientific Visualization

Scientific visualization is a multidisciplinary methodology which employs the largely independent, but converging fields, of computer graphics, image processing, computer vision, computer aided design, signal processing and user interface studies. Its specific goal is to act as a catalyst between scientific computation and scientific insight. Scientific visualization came into being to meet the ever increasing need to deal with highly active, very dense data sources, which, for example, include satellite data and data from supercomputer computations.

For more technical information regarding this new multidisciplinary methodology, please refer to the Selected Readings below.

Careers Questionnaire Statistics Most of the respondents hold one or more of the following degrees:

Discipline Degree Requirements

Computer Science B.S., M.S. or Ph.D. Mathematics B.S., M.S. or Ph.D. Physics B.S., M.S. or Ph.D.

The skills within each of the following categories are listed in order of importance by the largest number of respondents:

Computer Skills: Programming [91%], C [84%], UNIX [77%], Data Structures [77%], Software Engineering [75%], Structured Software Design [62%], FOR- TRAN [55%]

Non-Computer Skills: Communication [97%], Writing [93%], Personal Manage- ment [86%], Presentation [80%], Public Speaking [75%], Technical Management [55%]

Computer Graphics Skills: 2D Computer Graphics [82%], Raster Graphics Tech- niques [80%], Computer Graphics Fundamentals [80%], 3D Computer Graphics 80%], Wireframe [66%], Vector Graphics Techniques [55%], Image Shading Tech- niques [55%], 3D Computer Animation [53%], Image Rendering Techniques [51%], Spline Algorithm Techniques [51%] CATEGORIES 2.7 Scientific Visualization page 51

State of the Profession

1989/90 1986

84% n/a liked their work; 86% n/a think entry into the field looks good over the next year; 71% n/a recommend that others enter this professional area. 28% n/a have formal Computer Graphics training 53% n/a have on the job Computer Graphics training 48% n/a are self taught in Computer Graphics

Selected Readings

• SIGGRAPH Video Review #28 and #29 Published by ACM SIGGRAPH

• Visualization in the Eye of the Scientist Computers in Physics May/June 1988

• The Visualization Roundtable Computers in Physics May/June 1988

• Visualization in Scientific Computing Edited by Bruce H. McCormick, Thomas A. DeFanti, Maxine D. Brown Computer Graphics, Vol. 21 #6, Nov 1987 Published by ACM SIGGRAPH

• Visualization Techniques in the Physical Sciences SIGGRAPH ’88 Course Notes #19 Chair: Robert Sherman Wolff

PERIODICALS

• Computers In Physics American Institute of Physics 500 Sunnyside B lvd. Woodbury, NY 11797

• Supercomputing Supercomputing Review 8445 Camino Santa Fe San Diego, CA 92121 CAREER PROFILES

CAREER PROFILES

CHRISTINE BARTON Computer Graphics Project Manager 54

KEVIN BJORKE Technical Director for Animation 56

KELLOGG S. BOOTH Academician 58

JUDITH R. BROWN Visualization Consultant 61

ANNETTE BURR COAN Employer Needs: Computer Graphics in Advertising and Design 63

STEVE CUNNINGHAM Undergraduate Computer Graphics Instructor in Computer Science 69

LARRY ELIN Computer Graphics Management in Advertising 71

GEOFFREY Y. GARDNER Computer Image Generation in Aerospace 73

HANK GREBE "A Bridge Between Two Worlds" 75 SECTION 3

D.E. HEARD Technical Training Manager 78

HOLLIDAY HORTON An Artist in a Science Environment 80

STEPHAN R. KEITH Scientific Visualization 83

CARL MACHOVER Computer Graphics Consultant 87

AARON MARCUS Independent Computer Graphics Consultant 89

MIKE MCCULLEY Senior Art Director 92

THERESA-MARIE RHYNE Portrait of a Computer Artist 95

TIMOTHY SKELLY Art Director 97

STEPHEN SPENCER Supercomputer Graphics Research Specialist 100

JAMES J. THOMAS Lead Scientist 102

KATHY WOLFINGER Technical Writing 105

THOMAS WRIGHT Graphics Systems Software Professional 108 3.0 Christine Barton SIGGRAPH CAREER HANDBOOK page 54

Christine Barton Assistant Vice President Morgan Guaranty Trust

Computer Graphics Project Manager

I have had a varied and colorful career path as a programmer and project manager in numerous areas of computer systems and computer graphics. I have worked in research environments, small companies and large corporations in areas as diverse as real time flight simulators, live national television broadcasts, and a foreign exchange floor of an international commercial bank, although I consider myself to have come most successfully to rest bringing new technical solutions to problems within industry.

A quick history of my career: I graduated with a B.S. in mathematics and computer science from the University of Illinois, which had quite a good program in mathematics, as well as in computer hardware. While a student there, I began working with the operating systems group of the Illiac IV Project, which was a large parallel processing computer quite significant at the time. Work on this project took me to NASA Ames in California, where the machine was installed and went into service. Working at NASA Ames was a very valuable experience for me, which cemented my formal education with valuable practical experience. However, I became restless doing system programming work and began to look for a computer application which made all the tedium of programming in assembly language (then the standard for operating systems) worthwhile. At NASA Ames I met John Warnock, who explained some of the basic problems of computer graphics to me, and offered me a job writing real time operating systems for visual simulators at Evans and Sutherland.

After very rewarding work on several real time simulators with Evans and Sutherland, which included a ship simulator of New York harbor, a 747 simulator for Lufthansa, and a space shuttle simulator for NASA Houston, I took a job at the Computer Graphics Lab at New York Institute of Technology. I had a great opportunity here to explore new topics in computer graphics programming as it could be applied to film and television graphics problems. I enjoyed meeting and talking to artists here and trying to translate their verbal requests into computer tools which they could use. At this time I also enrolled for graduate study at New York University, where I had the opportunity to read every computer graphics technical paper I could find in their well stocked library, as well as develop a very rigorous understanding of computer algorithms and topics in mathematics. I regret having never completed a Ph.D. thesis as a student at NYU, although I completed all the coursework required for that degree.

However, I was growing tired of the lack of useable results which can be common in academia and research labs. At Evans and Sutherland I had worked on concrete projects with definable deliverables. Taking a job at NBC television in New York working on live television special projects again presented me with concrete deliverables. At NBC I wrote computer programs for special television display processors, as well as computer programs used in the control rooms to trigger the displays during live broadcasts of national election programs. I continued to interact with the users of my equipment, namely artists, program directors and CAREER PROFILES 3.0 Christine Barton page 55

program producers. The combination of working with people from a background outside mine (artists and producers instead of computer scientists), immovable deadlines (I could not get an extension past Election Tuesday) and live broadcasts (I never got to rerecord if the display algorithm had a bug) made the job very exciting.

However, the television business is very fashionable and cyclic; what is in fashion is soon out of fashion, and what has funding may soon be subject to budget cuts. I was cut from my department’s budget and found myself looking for a job three days after a very successful Election Tuesday. Assessing my professional skills and my job offers, what seemed most interesting technically and most interesting as a working environment was a job building computer workstation networks for foreign exchange traders who sit on a trading floor at a Wall Street commercial bank. Time means money to these people, and meaningful graphics which quickly describe the totally abstract concepts of the economy are very useful to them.

What has been important to me in my career is having interesting technical problems to solve. The diversity of the problems from each other has never bothered me; for example, I have not tried to stay within the advertising business or the academic community. I think it is important for someone who wants to break new ground in technical areas to not think and act in predictable patterns. It is counter-productive to expect job situations to be consistent or to expect to find tidy results to a current problem written up in a technical journal or periodical.

However, it is counter-productive to reinvent previous results; having a proper understanding of basics, that is, a good technical foundation with a discipline of procedures in problem solving, is very important, too. I think that it has been very useful to me to have solid technical foundations. Whenever I have felt lost with a problem, what has helped was to get more technical information about possible approaches to solving it.

I think these methods of innovative discipline have allowed me to move on to new problems, instead of reapplying old solutions to old problems for a new audience. I consider myself to be a creative person, a trail-blazer, a pioneer, with the arrows in my back to prove it. But I have found no real short cuts during my career. It has turned out to be basicly routine hard work with an occasional innovative result or new application to make it all worthwhile. In the end, having work you feel like doing is the real reward. 3.1 Kevin Bjorke SIGGRAPH CAREER HANDBOOK page 56

Kevin Bjorke R/Greenberg Associates Technical Director for Animation

Why I Spend My Summer Vacation at SIGGRAPH

I am currently a Technical Director at R/Greenberg Associates in New York City. Greenberg is a film/tape production company, and so my work centers around using computers in the context of commercials and feature-movie special effects.

R/Greenberg is a broadly integrated effects company, so the computer animation we do is often composited with optical effects, traditional animation, or live-action footage made by other departments in the company. The job title “Technical Director” is one of the most vague and thus mis-used in the animation industry. I have seen Technical Directors (TDs) who cannot program, and others who do virtually nothing BUT program, sometimes working side by side under the same roof (and the International Alliance of Theatrical and Stage Managers says “Technical Director” is another thing entirely). I have pretty strong programming skills myself, and write a lot of software; not only renderers and animation programs, but higher- level utilities on a per-job basis. I also produce animation for clients, like most TDs, usually in collaboration with others. Thus I am a User, Designer, and sometimes Manager of computer graphics.

The skills I’ve needed for my work have included fluency in a number of programming languages (C, FORTRAN, Forth, Lisp, BASIC, Smalltalk, and variants of all of these), a good understanding of rendering, animation, and internal computer representations; a certain amount of physics and mechanics; mathematics for animation, which (with a few exceptions) doesn’t range much beyond differential calculus; traditional art skills; and a strong background in live-action filmmaking and “regular” animation. I also need to be able to deal with the people you usually find in most filmmaking environments. I don’t believe filmmaking is a good business to build stable personalities in, and you work with a spectrum of people ranging from brilliant and balanced to crazy and dangerous. Working on advertising projects usually means dealing with external clients as well as your usual colleagues.

Unlike many people with similar jobs in computer graphics, I’ve had no formal high-level education in computer science. I was exposed to computers early (fourth grade, 1969), as part of an educational project supported by the University of Minnesota and Control Data Corp. In those days, all our storage was on paper tape, and the terminals (both of them, for 30 students) were teletypes. Graphics was something that I never really understood and had no way to deal with. I almost didn’t believe that it could really work, despite my fondness for the coin-operated SPACE WARS.

After the eighth or ninth grade, I didn’t see another computer for several years, concentrating at that time on writing fiction and working in film and television. I had some success with both, and I went to several film schools in Minneapolis/St. Paul and Los Angeles. While at the California Institue of the Arts, I discovered an Apple II in one of the production areas and was curious because I had heard you could make pictures on it. Ed Emshwiller, who had made CAREER PROFILES 3.1 Kevin Bjorke page 57

the film “Sunstone” at New York Institute of Technology, was the Dean of the CalArts film school, and he encouraged me to fiddle with the Apple. I taught myself perspective math and started doing effects sequences for my own films. I had thought at the time that almost no one was doing this sort of thing outside of flight simulation. When I first saw Foley & van Dam’s Fundamentals of Interactive Computer Graphics many months later, I was agog. Wow! They had it all figured out!

CalArts has produced a number of people in the entertainment Computer Graphics business. One of them, Dale Herigstad, was teaching at CalArts. He introduced me to people who subsequently got me in contact with Digital Productions, where they were making effects for the movie The Last Starfighter. I sent them my resume and a tape of some of my animation. I sent another resume later, and someone at Digital Productions remembered that they still had my tape. I started working there as a TD almost a year after my first resume and interview. I worked at Digital Productions for two and a half years, until its sorry demise in March, 1987.

After that, I took a different approach to computer graphics, writing game and utility software for the Amiga personal computer. I then went on to work with Bill Kroyer at Kroyer Films and developed software for the animated TV show Ultracross. In December of 1987, I moved to New York to begin with R/Greenberg.

I enjoy my work because it keeps me constantly thinking in terms of “higher, farther.” I have a great fascination with pictures, both still and moving. When I shifted focus from live-action to computer animation, I was thrilled by the ethereal, otherworldly images, the precise degree of control that was (theoretically, intuitively) possible, and the intellectual rigor that was demanded to make it happen. I’m constantly learning new things and dreaming up new ways to do them, then making those dreams real (sort of). Making fantastic pictures is very satisfying in itself. In a way, I can do anything, or at least seem to: build and destroy planets, grow forests, turn the laws of physics upside down and then put them back.

There is a downside, of course. Like most jobs in the film/video business, mine keeps me at the office for a long time every day, both at the console and in meetings. This can strain life at home, but a natural proclivity towards workaholism has helped me survive. You can get “spaced out” by the intensity of the work and seem dazed to other people. I tend to take an hour or two at home to come “down” after an intense workday. The relentless pace of technology IS relentless. Sometimes you find that your equipment and software is considered “obsolete” just as you’re starting to get good at using it. This is frustrating. And there are the usual antagonistic elements of any film job: the deadlines, the uncertainty of the business, the feuding over creative control (probably the most comical hassle), and the anxiety over how your work will go over at SIGGRAPH, on the air, and with your clients.

My advice for people who want to work in computer graphics, and whose interest is to make great films, is to focus their study not on algorithms, but on their own creativity. As the field advances, people will be needed at all levels, from the simple flying-logo joystick jockey to people who have a fine touch and can imbue their work with emotion and character (sorely lacking in the bulk of today’s computer graphics) while at the same time making sure that the surfaces are correctly lit and the rolloff exponents are reasonable. Computer graphics is quickly blending into the mainstream of film/video-making, and thus it’s better to understand editing than enumeration, and probably better to read Moby Dick or Cicero than A Survey of Multidimensional Data Projection Methods. Technology changes rapidly; people and meaning do not. 3.2 Kellogg S. Booth SIGGRAPH CAREER HANDBOOK page 58

Kellogg S. Booth Professor of Computer Science University of Waterloo

Academic

I am a professor of computer science at the University of Waterloo. I teach undergraduate and graduate courses in computer science and I conduct my own research and supervise master’s and doctoral students in the field of computer graphics. I’ve been doing this for the last twelve years. I am also the director of the Computer Graphics Laboratory, where five faculty members, four technical and support staff members, about twenty full-time graduate students, and a few other people do research in various aspects of computer graphics.

I learned to program assembly language in a high school science club and taught myself FORTRAN from an IBM manual. As a mathematics undergraduate at Caltech I worked for two summers programming (and other odd jobs) in high energy physics and spent the summer after my junior year working as a systems programmer in the computing center. I took a one year undergraduate course in systems programming, a one year graduate course in theory of computational linguistics, and one quarter courses in each of analysis of algorithms and formal language theory. During my senior year I worked part-time on a natural language project.

That was my introduction to computer science. There was no undergraduate major in computer science at Caltech then (1964-68). I consider this fortunate because it forced me to learn things other than programming and may have saved me from becoming a hacker. Caltech requires more humanities courses than most math or science majors take at other schools. I took a year of history and philosophy of science as electives and some extra American history. These courses kept my writing skills active.

After my bachelor’s degree I worked full-time as a programmer at the Lawrence Livermore National Laboratory for eight years (1968-76). During most of that time I was a graduate student at UC Berkeley, where I earned a master’s and a doctorate in computer science. My academic work was mostly in theoretical aspects of computer science, and my thesis involved algorithms and data structures for solving combinatorial problems of interest in graph theory. However, my work at Livermore involved computer graphics. I had originally taken a job there as a summer student to learn about man-machine interaction. Because of the draft (this was the Vietnam era), I stayed on, first working on a time-sharing system to support interactive computer graphics and then working in the newly-formed computer graphics group.

I learned a lot of what I know about computer graphics from watching others at Livermore, especially George Michael, who was a mentor to me. I attended the first SIGGRAPH conference in 1974 while on a tour of computer graphics installations with George and I gave a few lectures in a course he taught on computer graphics, which prompted me to read the first edition of Newman and Sproull’s graphics book. The graphics group at Livermore was managed by Bob Lee, who hired a number of good people from outside the lab, to add to the home-grown expertise already there. It was exciting being a member of the team, I look back on my time at Livermore as one of the best learning experiences of my life. CAREER PROFILES 3.2 Kellogg S. Booth page 59

A year after I finished my Ph.D., I took a job as an assistant professor at the University of Waterloo. Although there was interest in my work in graphics, I was hired mostly on the strength of my theoretical work. A year later I was joined by another UC Berkeley Ph.D., John Beatty, with whom I had worked at Livermore. Within a year we had acquired some graphics equipment and started teaching a course in computer graphics. In 1980, we were awarded an equipment grant, with which we purchased an Ikonas frame buffer. This gave us a state-of-the-art raster display system on which much of our research over the next four years was performed.

The Computer Graphics Laboratory was formally started in 1981, and has grown a lot since then. We now have a well-equipped laboratory with a large mainframe computer, specialized graphics processors, and a distributed network of workstations that continues to evolve. Each of the faculty members has a different background. None of us did graduate work in computer graphics. Three have doctorates in computer science, one in mathematics and one in physics. Some of our research projects are hard-core computer graphics, but many are multidisciplinary. We work with faculty members in dance, chemistry, engineering, fine arts, and psychology. A mix of theory and practice exists in all of our work. Both are important.

Being actively involved in SIGGRAPH has helped me learn managerial skills. I began giving courses at SIGGRAPH conferences in 1977 and served on program committees from 1979- 1982. With John Beatty, I served as co-chair for the SIGGRAPH ’83 conference. This was a two-year job. My four years as chair of SIGGRAPH end next year. Like most people I did not plan to become a manager. But as the years go by, I spend more and more of my time managing. As a teacher I manage people (undergraduate tutors, graduate teaching assistants, and regular support staff). As a researcher I manage people (graduate students, research assistants, and sometimes other faculty members). As a member of an academic department I manage people (chairing committees, participating in promotion and tenure decisions, and recruiting new faculty members). Most of what I know about management I learned from co-chairing the SIGGRAPH ’83 conference or from watching Bob Lee run the graphics group at Livermore. It would have been helpful to have had some formal training for this.

Today, I divide my time about equally between teaching, research, and “administrivia”, though it is often hard to separate the three because each involves aspects of the others. I do some consulting, but usually it is related to my research interests. Most of my teaching is to undergraduates and is not in computer graphics. I know that many faculty members would like to concentrate on their research specialties and leave the general courses to non- researchers, but I like teaching first and second year courses. I particularly enjoy teaching a broad range of topics in computer science. I don’t see computer graphics as having very many deep principles because most of the principles come from fields outside of computer science, such as mathematics, physics, psychology, art, and philosophy. The vast majority of people who actually do computer graphics for a living use it as a tool to solve problems in some domain other than computer science. Knowledge of the problem domain is at least as important as knowledge of the tool.

I have this same view of computer science. It is primarily a tool for solving problems in other domains. I am not a strong believer in undergraduate computer science because many computer science majors don’t learn anything but programming with a smattering of theory thrown in. I do not encourage my graduate students to take only courses in computer graphics. At Waterloo we teach three basic courses in graphics: one on general computer graphics, one 3.2 Kellogg S. Booth SIGGRAPH CAREER HANDBOOK page 60

on interaction, and one on spline theory. There are advanced graduate courses that cover specialized topics, but I expect graduate students to gain a broad knowledge of computer science by taking courses in a variety of areas within the department.

Research in computer graphics usually requires equipment. Equipment costs money and money has to come from somewhere. As a faculty member I expend a significant amount of energy looking for funding. Most of it comes from the government. (I am in Canada, where the rules are a little different than they are in the US, but I doubt this changes things very much). Some of it comes from industry, either through contracts or through donations of equipment. All of this requires writing grant applications, contracts, or requests for donations. I do a lot of writing.

I also spend a lot of time reading, correcting, and reviewing other people’s writing. I wish that students had more training in basic writing skills. When I referee technical papers for conferences or journals and when I review applications for granting agencies, I wish that faculty members had more of this training too.

Not all academics do research. But faculty members at major universities usually are expected to do research. This means that you have to keep up with the literature in your field. And you have to contribute to that literature by publishing papers in journals and presenting papers at conferences. To be promoted and to get tenure, your papers have to be accepted as advancing the state of knowledge. This sometimes makes it difficult to work in more applied areas. Papers that simply describe the implementation of a new system are often not acknowledged as making a significant contribution. My own work in computer graphics has been a combination of applied and basic research. I enjoy both aspects. It is fun to build systems that work and it is satisfying to discover something new about the world. I’m an academic because I like teaching. If I only wanted to do research, I would be in industry where I could devote more of my time to research projects.

What advice would I give to a would-be academic? You need to have a Ph.D. (not always, but almost always). After that, three things: (1) Acquire as broad a background as you possibly can. Research topics change all the time. A fundamental understanding of mathematics, the physical and social sciences, and (above all) the ability to communicate well verbally and in writing is the best preparation. (2) Don’t expect that academics are a different breed. In many respects universities are just like companies. The best faculty members would be equally successful in industry. (3) Choose a school and a department where you will have good colleagues. It is difficult to work alone. In computer graphics it is very difficult to work alone. CAREER PROFILES 3.3 Judith R. Brown page 61

Judith R. Brown Advanced Research Computing Services The University of Iowa

Visualization Consultant Scientific visualization is a rapidly growing field which combines several disciplines - computational science, computer science, cognitive science, computer graphics systems, and the visual arts - in a common search for new scientific insight. This goal is achieved by using computer graphics tools and techniques to examine the enormous amount of data produced by modern scientific simulations or experiments. “Visualization” has become a buzzword, frequently misused. The important concept is that the information and insight gained from the use of computer graphics are important, not the graphics themselves.

EarlY successes in this field were achieved by visualization teams composed of specialists in each of the above disciplines. Such teams continue to be successful, and their work creates excellent employment opportunities for persons with specialties in these areas. As awareness of visualization has grown, it has become apparent that the artists in such teams need to obtain more technical skills and the scientists need to obtain more artistic and visual skills. At the very least, this enables them to communicate more effectively. Communication skills — oral, written and visual — are extremely important in this field.

Visualization centers were first created at the major national supercomputer centers and other large governmental research sites. As the value of the centers was demonstrated, the demand for use of the facilities has increased so that it has become very difficult for scientists around the country to benefit from the facilities. Consequently, many smaller satellite centers are emerging at companies and universities.

At The University of Iowa, we recently established an Advanced Research Computing Services unit at the academic computing center. This unit supports the high speed computing needs of research through parallel processing on our own campus, access to national supercomputing centers, and some visualization resources on campus . Since the visualization resources are absolutely essential to advanced research computing, we have provided a modest Visualization Laboratory with some Macintosh II computers equipped with visualization software from National Center for Supercomputing Applications, and plan to obtain more advanced graphics workstations as well as hard copy and video output devices.

My job is to consult with researchers to determine how their data might be visualized and to help bring their data into the available visualization software. At the same time, I continue to write specifications for higher level equipment and to advocate the need for such equipment. I also need to evangelize to convince some scientists that our visualization facilities can be beneficial to their scientific discoveries, although I expect the need to evangelize to diminish and to use that time in the future to present the results of our endeavors. However, the need to write grant proposals or university equipment requests will continue because high-end visualization equipment must continually be upgraded. 3.3 Judith R. Brown SIGGRAPH CAREER HANDBOOK page 62

What do I like about my job? My job is so exciting to me that I can hardly wait to get to work in the morning. Each project is a different challenge, and although our equipment is still low- level, we can do some very good work and have prospects of acquiring more advanced workstations. Working in a university environment offers both drawbacks and advantages. The drawbacks are in the areas of equipment acquisition and salary. Universities have less money than major industries, which means that major equipment acquisitions are more difficult to obtain and take longer, and university salaries are traditionally 10% to 50% lower than those in industry. On the other hand, flexible working hours, more vacation, and creative freedom in your job are common in the university environment.

My background is a mix of formal and informal training. My formal education includes a B.A. in mathematics and education, with a curriculum heavy in the sciences, and an M.S. in theoretical mathematics. The first company I worked for, Collins Radio Company, trained me to program computers because this was 1964 and there was not yet a computer science program in my university. I have also worked as a consultant on computer graphics hardware and software, across disciplines, for ten years. My arts background is informal. I have taken pottery classes, have been an art museum docent, and have been active in several arts organizations on campus.

Today, however, there are formal computer graphics courses one can and should take in most colleges and universities, although there is not yet a major in scientific visualization. If you want to work as a visualization specialist, you should have a computer science background which includes computer graphics and user interface training. You need strong mathematical skills, especially in linear algebra. You also need visual training from the arts, especially in color theory and drawing. A background with a variety of sciences is also important since the projects range across many scientific and non-scientific disciplines. This differs somewhat from the careers in visualization as a scientific or artistic specialist mentioned above; these require specialization in the sciences or arts, with studies in computer graphics and the other areas.

Computer graphics professions tend to be multidisciplinary, and scientific visualization is no exception. This is an area where mathematics,science and art coalesce. It is also an area where communications skills—visual, oral and written—are extremely important. CAREER PROFILES 3.4 Annette Burr Coan page 63

Annette Burr Coan Director of Training Publishing Technology, Inc.

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 an art 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. 3.4 Annette Burr Coan SIGGRAPH CAREER HANDBOOK page 64

Requirements Requirements are the true center of this article. What kinds of employers are therein 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 copy writing. 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. CAREER PROFILES 3.4 Annette Burr Coan page 65

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 3.4 Annette Burr Coan SIGGRAPH CAREER HANDBOOK page 66

the difference. In a small, highly specialized corporate department such as hers, newly hired employees need an undergraduate degree in commercial arts and 3 to 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. CAREER PROFILES 3.4 Annette Burr Coan page 67

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 to $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 accep- tance 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 3.4 Annette Burr Coan SIGGRAPH CAREER HANDBOOK page 68

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.

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? CAREER PROFILES 3.5 Dr. Steve Cunningham page 69

Dr. Steve Cunningham Professor of Computer Science California State University, Stanislaus

Undergraduate Computer Graphics Instructor in Computer Science

Teaching computer graphics in an undergraduate computer science program is an interesting and stimulating career. You must keep up with developments in this rapidly-evolving field, write examples of graphics algorithms, systems, and applications, and help bright young students develop their skills and knowledge. Watching your students go out after graduation and do interesting things is a unique reward to all of teaching; the excitement of computer graphics makes this especially fulfilling. Teaching computer graphics in computer science is much like teaching in any undergraduate program, but the discussions below are specific to computer science.

Undergraduate instructors do not get to devote all their time to a specialized subject like computer graphics. We must cover many subjects in our discipline. Besides Computer Graphics, I teach a range of beginning and advanced computer science topics including Computer Programming I and II, Data Structures, Computer Organization, Programming Languages, Theory of Algorithms, and others. I work on several kinds of computers and workstations with different operating systems, although UNIX™ is the most common one we use. I use Pascal in my beginning classes and C in most others (including computer graphics). I must be familiar with several more languages, and I am currently learning object- oriented languages. My teaching requires preparations for lectures, laboratories, grading, and various consultation and committee work on campus, as well as participation in developing and maintaining our computing laboratories. I also write about issues in computer science, particularly computer graphics education, and find it a challenge to keep up with such a rapidly changing field.

I did not follow a simple path to my current position. I had no courses in computer science in my original undergraduate and graduate studies. My Ph.D. is in pure mathematics, and I spent almost ten years in mathematics teaching and research before I began teaching computer science. I used computer graphics in my mathematics teaching before I began teaching computer science and had two National Science Foundation grants to develop a computing laboratory for mathematics and to develop computer-graphics based software for teaching general statistics. My early programming experience also included systems programming for graphics, such as helping install Tektronix PLOT-10 TCS on an IBM 1130 and porting Tektronix PLOT-10 IGL to an early Hewlett-Packard 3000. I became so fond of computing that I accepted the challenge to begin the Computer Science program at Birmingham-Southern College. Two years later, I received another National Science Foundation grant and a sabbatical year to do my first formal study in computer science and to earn an M.S. in the field. However, I retain my interest in computer graphics for mathematics and am actively working on issues in visualization for mathematics. 3.5 Dr. Steve Cunningham SIGGRAPH CAREER HANDBOOK page 70

If you are considering a career as undergraduate computer graphics instructor in computer science, you would probably take a different path from mine. Undergraduate instructors must have a good general background in computer science and must have a Ph.D., probably in Computer Science. Your undergraduate studies should be in a technical area; this might be computer science, but mathematics is a good choice and studies in the physical sciences are reasonable. Certainly you must have a strong mathematics background and a good knowledge of the sciences. Your graduate work, especially for the Ph.D., needs to be in computer science or strongly related to computer science in order to get your first faculty employment in a computer science program. After that, you face the usual new-faculty problems of tenure and promotion. These vary, of course. In larger universities, this means serious research and grant programs, while in smaller colleges, it means scholarship and teaching. In either case, it means long days of hard work, made bearable (and fun!) by bright students, stimulating colleagues, and exciting developments. Your rewards are both personal growth and accomplishment and the knowledge that you are contributing to the future of computer graphics. In spite of administrators, budgets, and campus politics, undergraduate computer graphics instruction is a rewarding career. I highly recommend it. CAREER PROFILES 3.6 Larry Elin page 71

Larry Elin Director of Special Projects MetroLight Studios

Computer Graphics Management in Advertising

Currently, I am the Director of Special Projects at MetroLight Studios in Los Angeles. MetroLight is a computer animation company specializing in broadcast graphics and commercials. Realizing that the market for these applications is not growing at the same rate as the number of companies providing the same services, MetroLight has initiated a project to develop new markets and applications for the production services we provide.

As Director of Special Projects, it is my responsibility to identify and pursue opportunities that are outside our current activities, and to develop the means to service these new markets. An example would be half-hour format children’s programming, feature films, or program content for compact disks. I’m engaged in research, development, marketing, and production of computer animation for a number of various projects. It is very challenging, and draws on my years of experience as an eclectic in the field of computer animation.

The most positive aspect of my work is the excitement of putting together the team of people and the battery of equipment for each project. The combination is different for each project, and requires creativity, technical know-how, business acumen and inter-personal skills, as well as a great deal of general knowledge about film making, computer graphics technology, art and animation.

The only negative aspect of my job has to do with the nature of the film business itself. There are ups and downs, feast or famine situations constantly, and the stress, because of this, can take a toll. In my line of work, it is critical to be very easy going and to roll with the punches. I learned this lesson the hard way.

For 12 years, beginning in 1973, I was a producer, designer, director and and animator at MAGI SynthaVision, in Elmsford, NY. When I left in 1985 I was the vice-president in charge of production. I graduated from Syracuse University with a degree in TV/Radio and Film and in Advertising in 1973. MAGI had just finished developing SynthaVision, which, at the time, was the only computer-generated raster graphics system available for commercial film production. My wife (then fiance) introduced me to her father, Dr. Phillip Mittelman, who was president of MAGI, and he hired me. I think both of us thought of it as a temporary arrangement, until I could catch on with a TV station or Advertising agency. But I fell in love with CGI and made it my obsession to see MAGI succeed in the business.

Because we started from scratch, with our own software, home-made film recorder, very little knowledge of the film business, and in an industry with no history whatsoever, the ramp-up to respectability was very hard. We were learning every aspect of the production business, computer animation and advertising as we went along. Making mistakes. We didn’t realize we were literally clearing the way, in many respects, for the computer animation world you see today. 3.6 Larry Elin SIGGRAPH CAREER HANDBOOK page 72

At MAGI, I was involved in the production, design and animation of hundreds of industrial films, commercials, TV IDs, four features (including 14 minutes of TRON). I had my share of victories and debacles, and all those experiences serve me daily as I perform my current duties.

Today, there are more computer animation companies, software and hardware systems, and talented animators, designers, and technical directors than I ever dreamed there would be. Unfortunately, there are more than there is a practical need for. As a result, the competition for computer animation projects is very keen, and the need for solid, experienced managers is critical. Whether or not the computer animation industry grows and at what rate will be largely determined by those responsible for bringing work in, hiring staff, selecting equipment, and supervising the successful completion of film projects.

An individual with good organizational skills, and a broad eclectic background in both the arts and in technology, and who can deal with people in a open and honest way, will "make- it" as a CGI user/manager in the animation business. CAREER PROFILES 3.7 Geoffrey Y. Gardner page 73

Geoffrey Y. Gardner Senior Staff Scientist Grumman Data Systems

Computer Image Generation in Aerospace

I am a research scientist at Grumman Data Systems on Long Island, directing the Computer Graphics project presently focusing on cartographic applications. My specialty is 3-D scene simulation using Computer Image Generation (CIG).

The most positive aspect of my job is that it is fun; I look forward to Monday morning. CIG is a fulfilling blend of art and science, providing freedom to be creative within a well-defined framework that gives you something more than your instincts to hang onto. Because your work is visual, others can relate to it immediately. In addition, CIG has a wide range of applications, from artistic presentations to scientific simulation, offering the potential for interesting diversity in your profession.

On the other hand, because CIG is highly dependent on hardware, you must learn to handle the equipment, and you have to live with down time. Because people can understand your work easily, it is easy for them to be critical. I wish I had a dime for every time someone said my clouds looked like cotton balls.

The best aspects of the aerospace industry are the people, the facilities, and the professional environment. I am currently working with colleagues who are intelligent, creative, and highly professional, making teamwork very satisfying. Our graphics lab facility includes the powerful computers and graphics devices needed to perform leading-edge research. In addition, we have hardware and software system support people who are essential. The professional environment of a large company like Grumman provides the stability, salary, and personal benefits necessary for a long-term career commitment. This environment also ensures, to a large degree, that one’s work will find application and contribute to a larger goal.

CIG requires a knowledge and understanding of geometry, including coordinate transforma- tions and perspective projection, as well as knowledge of sorting, hidden surface algorithms, shading models and texturing. An understanding of ray tracing and scan line algorithms is important.

One should be flexible and willing to apply the technology to a diverse set of uses. Communication skills are important. One must be willing and able to exchange information with other professionals. This includes making presentations as well as writing reports, proposals, and documentation. One must be willing to collaborate with and learn from others and to take direction.

General computer skills required include knowledge of mathematics, skill in structured programming, problem-solving skills for debugging, and knowledge of the appropriate operating systems and peripherals. General graphics skills required include a feel for spatial 3.7 Geoffrey Y. Gardner SIGGRAPH CAREER HANDBOOK page 74

relations and an artistic sense for economy. Knowledge of the particular field of application is a plus. For example, at Grumman Data Systems we have become knowledgable in the field of cartography.

I got into CIG research starting with general computer programming, then programming for a vector graphics device, and finally plunging into CIG for simulator displays. Each step of my career was in response to a need at Grumman, and my willingness to cooperate has paid off well for me. I have settled into CIG because it satisfies my yearnings as a frustrated artist as well as my interest as a trained scientist.

My outlook for the future of CIG is extremely optimistic. Although I am getting tired of spinning logos, I am excited by the new application of computer graphics to visualization of scientific phenomena.

To be a part of this exciting field, one will need a good basic higher education topped off with studies in math, computer science, and computer graphics. A Ph.D. is a plus for independent research, but these days one could start on a PC and get hands-on experience right away. Computer graphics is a lot like a guitar. You can pick one up and start strumming a few basic chords, and you can spend the rest of your life aspiring to be another Segovia. CAREER PROFILES 3.8 Hank Grebe page 75

Hank Grebe AT&T Bell Laboratories

A Bridge Between Two Worlds

Computer graphics people generally travel on a bridge between two worlds — computers and graphics. Computers have become new tools for artists, and graphics have become new tools for computer scientists. The synergistic relationship between computers and graphics is the topic of numerous books and documents. My personal story is one of gradual integration of computers into an artist’s career path, to the point where now my work involves computers more than art.

Currently I am employed by a consulting firm that specializes in filling the many requests for UNIX based programmers. I have enjoyed an on-going assignment with the User Interface and Quality Planning Department at AT&T Bell Laboratories in Holmdel, New Jersey and for the past two years have served as the System Administrator and programmer for a network of 14 Sun workstations. My role as the local “Sun guru” involves keeping abreast of current issues in the workstation market and provides an interesting research dimension to my responsibilities.

Necessary tasks such as operating system installations and upgrades, filesystem backups, and assorted periodic maintenance jobs are essential for system administrators to harmonize the three computer-critical elements—hardware, software and humans. The scope of my work covers all three areas—specify new hardware, write code, and introduce new users to the system. Many of the workstation users are Graphical User Interface designers for AT&T’s wide range of telecommunications and networking products and services. To educate both new and experienced users in the use of our computer resources, a Bell Labs human factors expert and I coauthored an introductory manual. It is also pleasing to find my background in graphic arts is valued, when a request for designing an application’s “look and feel” is made. A recent programming challenge has been to develop, in C under the X Windows System, a graphical user interface prototyping tool, a type of CASE software that is in high demand.

This has been quite a leap from my entry into computer graphics as a 2D computer animation compositor and video recordist at NYIT’s Computer Graphics Laboratory. The transition from artist/animator to programmer/system administrator has been a long-term process of learning through manuals, onsite corporate training programs, conferences such as SIGGRAPH, and most of all, many hours of experimenting in front of a computer terminal. Computer graphic artists have nothing to lose by becoming more familiar with the tools they use. 3.8 Hank Grebe SIGGRAPH CAREER HANDBOOK page 76

When I began undergraduate fine art training at the Boston Museum School in 1971, I didn’t know whether I wanted to be a painter, a photographer, or a filmmaker. Marshal McLuhan’s “War and Peace in the Global Village,” Gene Youngblood’s “Expanded Cinema,” and the experimental film work by Stan VanDerBeek and John Whitney, Sr. had great influence on my own endeavors to push visual media into new realizations.

In 1973, I left the Museum School to work on “Cosmic Cartoon” at Steven Lisberger's and Eric Ladd’s animation studio, then in Boston. Film animation was far from high technology, and we often wondered if smart machines would ever relieve the tedium inherent to the creative process. Inbetweening, pencil tests, rotoscoping, painting and retouching cells all had to be done the hard way; there was no digitizing. Developing the craft that would later be transferred to the computer world, I labored under manic-depressive job schedules until 1978, when I abandoned animation tired, poor and disillusioned.

In 1980, while completing my undergraduate degree at the University of Wisconsin, I became interested in computer graphics. Upon seeing TRON’s use of computer imagery, my excitement for animation was rekindled. I started small by learning BASIC and graphics programming for Apple II’s, and later took PASCAL courses. Fancy graphics display devices were hard to find, so I attended my first SIGGRAPH in 1983 in Detroit to get a closer look at what the big leagues were going.

ACM SIGGRAPH '83 changed my life. Soon after which I accepted an entry level position at NYIT Computer Graphics Lab’s 2D Animation Production Department. This was a fortunate opportunity for me to meet and work with many of the great creative minds of computer graphics’ formative years. An apprenticeship under Dick Lundin, using his software to create a flexible Gumby model, was a computer animation adventure I’ll never forget. The resulting animation appeared in the SIGGRAPH 1984 Electronic Theatre with the blessings of Arthur Clokey, Gumby’s creator.

In the mid Eighties, there was a flourishing of computer animation houses and a very exciting time to explore, and sometimes, consider new opportunities. After a number of visits and interviews, I realized that I had developed a commitment to UNIX, and considered working on a specialized, non UNIX graphics box to be a risk to my progress in computer graphics. Later, during the shake out of animation houses, I wondered if perhaps even computer animation could be a risk to my career.

When people began mistaking the actor Max Headroom for a computer-animation simulation, I felt that time could be better spent in other areas of computer graphics. Computer applications aiding the publishing industry began claiming a larger share of the market. In 1987, I joined the Technical Planning Department of NYNEX, where I was part of a team developing workstation based Display PostScript applications for Yellow Pages directory publishing. In New York I found myself smack in the middle of Wall Street’s workstation boom. The demand for high speed, multitasking, windowed computers was growing faster than the supply of qualified people to develop them. It was sad but true: large companies had serious problems to solve, plenty of money to spend, and didn’t care about how to animate Gumby. CAREER PROFILES 3.8 Hank Grebe page 77

That returns me to the present. Acquiring a working knowledge of UNIX, C programming and workstations has broadened my employment options. Experience in art and design has contributed favorably in all of my computer graphics positions. Private creative work is actually a low tech counter balance to my high tech work environment—I write, draw and oil paint—often without the aid of a computer. This feels good to me and gives me total freedom over my creative decisions; and, in the future, I envision establishing a computer graphics production facility serving television and print industries. Computer graphics has been good to me, a wise career choice. I’ve enjoyed navigating through these state-of-the- art waters, and I’m fortunate to have kept my boat afloat, with much gratitude to the visionary pioneers who charted their courses before me. 3.9 D.E. Heard SIGGRAPH CAREER HANDBOOK page 78

D.E. Heard Information Display Group Tektronix

Technical Training Manager

The Information Display Group at Tektronix produces interactive graphics terminals, workstations, copiers, and supporting graphics software products primarily for scientific and engineering applications. This is a very competitive marketplace characterized by rapid market growth, increasing numbers of new applications and the anticipation that each generation of new products will bring significant improvements in price/performance. In addition, customers in the interactive graphics marketplace anticipate and have every right to expect the very best technical support from Tektronix and other vendors.

Technical support is provided by Field Systems Analysts and includes support for product features, interfacing specifications, data communications, networking, and operating systems. The scope of the support requirement within an environment of rapidly developing applications places a premium on field systems analyst training and development. The responsibility of the Technical Training Manager is to provide for this training. The rapid evolution of customer applications means that nearly every training requirement must be satisfied with a newly developed course.

The job of the Technical Training Manager requires conceptual understanding of nearly all aspects of data communications, computing systems, and interactive graphics. It also requires a good background in product marketing and at least a general familiarity with the targeted vertical markets. The positive aspects of the job are the challenge of a dynamic working environment and the opportunity to make very real contributions to the development of many very talented young professionals. Having access to some of the finest professionals in computer graphics doesn’t hurt either. The only negative aspect is not being able to work directly with customers very often.

Prior to becoming Technical Training Manager, I spent twelve years in application software development, followed by ten years in field technical support as a systems analyst and a technical support manager. My formal background is in mathematics.

Typically, the development and delivery of each training class is treated as a project with objectives, specifications and resource requirements. I develop and secure agreement on the objectives and specifications and obtain resources as required from my own group, as well as engineering, marketing and field sales groups. Delivery and attendees are scheduled based on requirements from the field technical support managers. And that’s all there is to it! CAREER PROFILES 3.9 D.E. Heard page 79

Given the continuing trend toward an application driven marketplace and for interactive graphics, training requirements for field support specialists will increase to six to eight weeks annually. The increasing diversity of interactive graphics applications will require the active involvement of many more “applications specialists” in training development and delivery. With a broad background in computing and marketing, and with good organizational skills, excellent futures await those who enjoy an opportunity to contribute. 3.10 Holliday Horton SIGGRAPH CAREER HANDBOOK page 80

Holliday R. Horton Senior Animator

An Artist in a Science Environment

My job title is Senior Animator. Wait...or is it Chief Animator? Sometimes it is merely Animator. Where I work, my job title is ambiguous. There is no question characterizing the career status of a Chief Scientist, Staff Scientist or Senior Scientist, but it is difficult to classify the job status of a traditional artist in a science environment. My education and experience are valued, but I am generously valued for my talent. Most of the time, people call me “Chief.”

I work in the Advanced Scientific Visualization Laboratory at the San Diego Supercomputer Center (SDSC) in La Jolla, California. SDSC is part of the University of California, San Diego (UCSD) and is operated by General Atomics with major funding from a cooperative agreement with the National Science Foundation. SDSC is one of four NSF national supercomputer centers; the others are located at Carnegie-Mellon/University of Pittsburgh, Cornell University, and the University of Illinois at Urbana-Champaign.

I pursued an Internship in computer animation at SDSC during my senior year at UCSD where I was studying traditional film animation, video, photography and painting. I had a strong passion to learn computer animation yet there were no formal computer graphics classes being taught at the University (nor in the San Diego area). My traditional animation classes (and I took 7 of them) required thousands and thousands of drawings which involved filming them one at a time underneath the animation stand. I wanted to learn how to generate animated images without the painful side-effects of “paper-cuts” into the late hours of the morning. Instead, I wanted to walk away and have a computer render and film (or videotape) my images. My animation professor knew of my interest and encouraged me to research the facilities at the Supercomputer Center.

It took a lot of nerve to walk into that huge white building with the monstrous satellite dish on top. It was a “Supercomputer Center” and I had never even touched a computer nor did I have any clue what people actually did with them (besides make outrageous images). I knew there was a supercomputer in there, but how big was it? I had no idea. All I knew was I wanted an internship in computer animation and I felt that it wouldn’t hurt to ask.

I had walked in the door at the right time. It happened that they were looking for an artist/ animator at the same time that I was looking for an internship. Their reaction was “When can you start?!”, and the next day I had a CRAY account.

As I said, I had never touched a computer. My workstation was a Silicon Graphics IRIS 3130 with Alias Software and I was told where the manuals were. That was it. UNIX looked like Russian, and the Alias software had just been installed. If I had a question, I would have to CAREER PROFILES 3.10 Holliday Horton page 81

place a call to Canada for customer support. I had to learn on my own, but I was ready with a vengeance. I spent all of my extra time (even Friday nights) on the workstation and was immediately hooked on computer animation.

My internship was a dream come true, but there was another dream, a “real job.” I explored the possibilities and I was told that there was a proposal before the state legislators for a $6 million grant to create a “world class” graphics lab. They were going to hire a Manager of Scientific Visualization, Programmers, and an Artist/Animator. Two and a half years later, the lab is finally coming together and I have a unique role as Senior Animator in the visualization laboratory.

Working with scientists is a lot different than I ever thought it would be. Stereotyping and generalizations are unavoidable in any profession, but art and science are real targets for each other’s verbal abuse. Generally, we think of scientists as “left brained” people and artists as “right brained” people, where art and science are disparate dichotomies.

In many cases, the generalizations are true. I giggle at some scientist’s pocket protectors; they look at my achromatic wardrobe and ask me “Who died?”. There are those “little things” that happen constantly that define our two different ways of thinking. For instance, I’ve noticed that when they have an idea, they quickly visualize it and draw it on a whiteboard to give the idea concrete meaning, whereas my whiteboard is usually clean because I can visualize and clearly store ideas in my mind. Predominantly, they prefer images to “make sense” and assume little explanation is needed for interpretation.

However, based on my experience, we are very much alike. The people I work with are extremely creative and I enjoy listening to their ideas. Artistically speaking they say they could “never draw a straight line” and the nice thing about computer graphics is that it serves as a more malleable tool for scientists to draw their straight lines. Some of the most incredible imagery has been created through scientific research. There is a certain sense of beauty and innocence from images that once existed as numbers. Scientists often astonish themselves with their own work, creating images that could take an artist years to perfect.

My time is devoted to several research projects. One such project is an interactive color theory tutorial (using Macromind Interactive on a Mac II). The tutorial is targeted towards the Center’s 2,800 scientific users around the U.S. (including Alaska and Hawaii) and the 100 people who are on site. Scientists have a choice of 16 million colors and have a hard time selecting even two. Mixing colors is a difficult process and color harmony is a mystery. The tutorial should help them better understand the use and relationship of color and let them enjoy using it. Part of the tutorial will describe video and film and how to properly (sanely) deal with computer graphics hardcopy. Most of the scientists I have worked with are intimidated by a simple VHS machine or a fully programmed camera, and they have to learn how to operate a film recorder and stacks and stacks of digital video equipment (run by the CRAY Y-MP).

Besides my other projects, the majority of my time is spent creating animations. My animations range from a rotating molecule (for a scientist) to an animated spacecraft and asteroid for NASA. My work is not “glitzy” flying logos nor is it the nocturnal hours of a “production” environment. It is a research “university” environment (this means we get to 3.10 Holliday Horton SIGGRAPH CAREER HANDBOOK page 82

wear shorts and flip-flops to work). Granted, at times I wish I could be doing “fancy graphics” and have more artistic freedom in an environment with other aspiring artists, but the science environment is an incredible technological learning experience.

A CRAY Y-MP and an Alliant FX/80 were installed at the Center. We bought 12 workstations for the new visualization lab with both an audio and a video room for post- production editing. I have been using both Alias and Wavefront software on two Silicon Graphics Iris 4D/210GTX’s and am taking a C programming class to help implement software for rendering animations of scientific data. People at work joked about how funny it was that an artist was going to take a programming class. They laughed even harder at the thought of themselves taking an animation class.

My reason for telling you my life story is because I’ve heard too many artists remark about how they are skilled in art but don’t know anything about computers, yet they want to be involved with computer technology. My advice is to research the facilities in your area and offer your talents. I went to several animation production companies in the San Diego area prior to SDSC and all of them were open to the idea of having an intern. There may be wonderful opportunities if you are willing to go out and find them. People are generally willing to have someone work for free (even ten hours a week) and that is the ticket. Proving that you are valuable and indispensable is one of the keys to a permanent position. Even if you do not become a permanent employee in the company, it is an excellent opportunity to build a portfolio and gain practical experience for other career opportunities. CAREER PROFILES 3.11 Stephan R. Keith page 83

Stephan R. Keith Technical Manager Sterling Federal Systems, NASA Ames

Scientific Visualization

I am a Technical Manager for Scientific Visualization, in the Space Sciences Division and the Computational Chemistry Division at NASA Ames Research Center, as an employee of Sterling Federal Systems, a contractor to NASA. Sterling Federal Systems provides software services to NASA Ames, and supports areas of research such as Computational Fluid Dynamics, Wind Tunnel data acquisition and analysis, Life Sciences, Space Sciences, and Computational Chemistry.

Scientific Visualization is not simply displaying data from data intensive sources although much of this effort has its origins in the fact that we now have many highly active, very dense, data sources, and we need methods to examine and interpret data in the largely independent but converging fields of computer graphics, image processing, computer vision, computer aided design, signal processing, and user interface studies, and its specific role is to act as a catalyst between scientific computation and scientific insight. For more technical information regarding this new multi-disciplinary methodology, please refer to the visualization Selected Readings cited in Section 2.0, Categories.

Personal Education

My formal education and degrees are in Electrical Engineering. After earning an A.A. from Chabot Jr. College, I earned a BSEE in 1974, and an MSEE in 1981, both from the University of California, Berkeley (UCB).

I intentionally designed my college education to be broad, as I wanted my skills to encompass the fundamentals of hardware and software. I acquired an education which included logical digital design, assembly language programming, compiler design, operating systems design, computer architectures, and an introduction to every programming language I could get to (FORTRAN, PASCAL, SNOBOL and LISP), as well as some classes which had computer graphics in them. Later, when I went to graduate school, I took classes in microcomputer systems design, image processing and computer graphics.

My professional goal was to design and build computers, a fairly broad and ambitious goal. However, I wanted to acquire knowledge of as many computer fundamentals ranging from software to hardware as possible. Much of my philosophical motivation for education came from the belief that generalists make better scientists and engineers. As a result, much of my professional work has been approached as a multidisciplinarian. I had a desire to do computer graphics early in my education, but I was not aware at that time that my multidisciplinary education would be so useful to me in computer graphics. My upper division work required two years of physics, two years of calculus, one year of chemistry, analytic chemistry, materials science, and fundamentals of electric circuits. It is important to note that the chemistry, calculus and physics provided me the fundamental skills necessary to be a good scientific visualizer. 3.11 Stephan R. Keith SIGGRAPH CAREER HANDBOOK page 84

My education did not stop at the formal process. I often make a personal investment in University Extension courses, attend seminars given by manufacturers of hardware or software, and join groups or organizations which discuss issues of professional interest. I subscribe to many free and fee magazines and journals. In this manner, I maintain existing skills and develop new skills as my profession requires.

An Account of My Work in Computer Graphics

From1972 through 1974, at UCB, I was introduced to computer graphics via an IBM 1130 and an IBM 2250 vector graphics display unit. Through courses and independent study, I learned about display lists, hardware, software, data structures and mathematical concepts for computer graphics. When I graduated in 1974, I left with two intellectual goals: microcomputers and computer graphics, both of which require multidisciplinary approaches.

I found to my dismay that there was very little work being done in graphics. It was called a dead-end field (if you could call it a field), highly specialized, academic in nature, and very, very expensive. I discerned that I was killing off opportunities to get any kind of job by being so specific about computer graphics, and that I would have to let the graphics interest remain dormant for a while. Besides, I really wanted to build computers ... or so I thought.

In 1974 at Lockheed Missiles and Space Company, I worked as a scientific applications programmer. This site had a Vector General vector display unit, and I convinced my management to allow me to do some computer graphics work.

As I was still quite interested in microcomputer systems design, I transferred to Lockheed Palo Alto Research Laboratories (LPARL), as a microcomputer systems designer to help build one of two microcomputer systems which would go aboard the Solar Maximum Mission, co-sponsored by NASA and ESA (the European Space Agency). Although my computer graphics activities ceased for a time, it was here that I learned and developed the foundations for communicating with scientists, and for interpreting scientific needs into engineering reality. At LPARL, a Data General Eclipse and a RAMTEK 9000 series raster graphics display became available. I was able to spend my evenings and weekends on this raster graphics system, and experimented with animation, timing and scripting, object creation, interactive graphics techniques, and photography.

I did not take computer graphics seriously from a professional point of view...until I attended SIGGRAPH ’79. I walked away from this conference dazed and somewhat depressed, because I felt my graphics efforts were puny in comparison with the graphics presented at the conference. Nonetheless, there was no turning back; my interest in computer graphics had taken a firm hold of my professional life.

At this time in my professional life, I had what might be called a “stable career path”, where concerns for home, a regular paycheck, and a career at a single company were my greatest professional concerns. What was to follow was a comparatively rapid change of jobs (about every two years) from graphics position to graphics position. My goals were very clear to me. Every professional action, every job I took, was to get me the graphics experience I literally craved. CAREER PROFILES 3.11 Stephan R. Keith page 85

As time passed, I acquired breadth and depth in many areas of computer graphics. My attitude became: “When the computer graphics in the job ends, my interest in the job ends.” Although such an attitude was generally considered outrageous, if not unprofessional, by the standards of professional conduct at that time, by today’s standards this attitude is not unusual. There is now a greater interest in “loyalty to the profession” than “loyalty to a company”.

My professional computer graphics work started with Computer Sharing Services, where I worked for two years on a business graphics package. Although it was not the exact graphics I wanted, I did have access to graphics equipment, I was doing graphics work, and I was learning about team software development, how to design and write device drivers, and how to develop documentation techniques and graphics test techniques. When our main customer (AT&T) broke up, continued efforts in computer graphics diminished.

I then went to work at ATARI, where I programmed game cartridges for Sesame Street, and worked on various research projects, including research for interactive video disc games. At this time, ATARI was in its decline, and advanced graphics activities were not available to me. After ATARI, I worked for a start up company that didn’t make it. However, I did use UNIX and C while there, and I was introduced to the graphics standards GKS, VDI and VDM (VDI and VDM are now called CGI and CGM).

Scientific Visualization

I had learned that NASA Ames was beginning development of a project which was to include a CRAY supercomputer, two AMDAHLs, three VAX’s, and twenty-five SGI IRIS workstations. Needless to say, I was intensely interested in the project, called the Numerical Aerodynamic Simulation Project, or NAS. I found out that Informatics (now Sterling Federal Systems) was the contractor commissioned to do the work. I was able to get a job with the major contractor, and I was introduced to the NASA scientific community. My task was to write a graphics package for this supercomputing graphics network, which may be called an electronic wind tunnel. The process of computation is called CFD, or computational fluid dynamics, and primarily uses the Navier-Stokes equations as the basis for generating computer flow fields over simulated surfaces designed by scientists and aeronautics engineers, computing them on the CRAY, and using the IRIS workstation to display these flow fields. I worked on this project precisely for two years.

From the NAS project, I transferred to the Space Sciences Division. My task there was to determine the graphics needs of the division, develop a model of how the scientists work, make recommendations, and if acceptable, implement them. I developed a user friendly scientific display system called GVS (General Visualization System), which allows astrophysicists and atmospheric physicists to examine large volumes of data visually and interactively. To date, we have examined galactic evolution experiments, extinction coefficients for smoke particles, ozone holes, and various pressure, temperature and density field simulations for the atmospheres of Mars, Venus and Earth, and more work for this system is on the way. At this writing, I have worked on the project for 2.5 years, and the GVS is reaching its final stages of development.

Presently, while I am finishing my work with the Space Sciences Division, I have begun part time work with the Computational Chemists at NASA Ames doing Scientific Visualization. 3.11 Stephan R. Keith SIGGRAPH CAREER HANDBOOK page 86

What Makes a Good Scientific Visualizer

It should be clear that a good scientific visualizer needs a multi-disciplinarian background. My educational background in chemistry, math and physics has paid off, because it certainly helped to understand, and communicate with, the “average” scientist. A firm foundation in general science, physics, chemistry, and math (such as algebra, trigonometry, calculus, differential equations and linear algebra) will prove useful in helping you to understand to some degree what the scientist is seeking. Often, this will not be enough, and you may have to spend some time working with the scientists and their data, and reviewing some of the scientific fundamentals to gain the scientific insights from the data.

From a computer science point of view, you need to understand such issues as software engineering, programming, operating systems and communications. Depending upon how portable you want the software to be, you will also need to address the issues of graphics programming standards (such as PHIGS or GKS), software portability, and maintenance. Maintenance means being able to upgrade the visualization software for new applications or data presentation methods, as well as fix any software bugs in the visualization system.

There are other issues which are more human than technical. One significant issue is that when scientists and engineers work together, they have to develop a mechanism for communication. The goal is to allow scientists to communicate their needs in such a way that the engineer is able to interpret these needs in a technical manner. The engineer has to understand what the scientist wishes to accomplish, in the scientist’s language, in order to give them the tools they need to continue their studies or work. This is where having a background in physics or chemistry and the various mathematics prove very useful to the engineer.

In this work, I have found that technical talents are not enough. You must have good communications skills, such as writing, reading, technical writing, public speaking and proposal presentation. A final and key ingredient for success as a scientific visualizer is to mix technical understanding with a little simple human understanding, because it is people, not computers, who depend upon you to make the technology work for them. CAREER PROFILES 3.12 Carl Machover page 87

Carl Machover President Machover Associates Corp.

Computer Graphics Consultant I am currently President of Machover Associates Corporation, a computer graphics consultancy which provides a broad range of management, engineering, marketing and financial services to computer graphics users, suppliers and investors.

Application areas include Computer Aided Design (CAD), Computer Aided Manufacturing (CAM), Computer Aided Engineering (CAE), Computer Integrated Manufacturing (CIM), business, slidemaking, art, animation, graphic arts, process control, technical documentation, engineering and scientific applications.

I am also an Adjunct Professor of computer graphics at Renssalaer Polytechnic Institute. I graduated as an Electrical Engineer from Renssalaer Polytechnic Institute in 1951, worked as an engineer on bombing and radar systems, and servo mechanisms until 1959 when I became part of Skiatron Electronics and TV, one of the early graphics companies. In 1960, I became one of the founders of Information Displays, Inc., again, one of the early designers and manufacturers of computer graphics systems. I stayed with that company, essentially in a marketing role, until 1976 when I left to form Machover Associates Corporation.

It is not clear to me that you can train to be a consultant. When one feels he/she has enough marketable experience, one can either seek clients as a part-time venture, or “go-for-broke” as a full time business. I chose to “go-for-broke”. A consultant must have a vast background of experience. From my point of view, experience should be balanced among technical, management, marketing, and financial areas. There are, of course, a variety of ways in which consultants operate; some consult strictly on management, some strictly on technical areas. I have tended to operate across the board.

About a year ago I was asked to give a speech at North Carolina State University on what a consultant does, and I thought a brief summary of that might be a useful guide. Essentially, a computer graphics consultant operates in the following ways:

FOR USERS:

- Develop application, benefit and cost analysis data - Identify potential suppliers - Prepare systems specifications - Make source surveys - Evaluate Proposals - Educate management and users on systems, applications, and state-of-the-art technology - Assist with systems installation and training - Provide system customizing services 3.12 Carl Machover SIGGRAPH CAREER HANDBOOK page 88

FOR VENDORS:

- Identify trends and opportunities - Evaluate competition - Scope market - Identify potential customers - Identify distribution channels - Provide marketing guidance - Provide hardware, software, and graphics arts design services

FOR INVESTORS:

- Scope market - Evaluate business plans and companies - Identify trends and opportunities

FOR EVERYBODY:

- Provide impartial non-vested interest advice - Identify potential employees - Identify potential investment and acquisition opportunities - Conduct seminars/workshops/conferences - And, more...

It seems to me of all the items in there, the most important for a true consultant is to be in a position of giving useful, unbiased, non-vested interest advice. That is, I do not see how you can be a consultant and either covertly or overtly represent a particular company.

I think the other elements that a successful consultant needs are to not get insulted if someone doesn’t take your advice and to not have a need to see the results of your advice. If those last two needs exist, one might be better as part of an operating company than as a consultant.

As an indication of the range of activities that one becomes involved with, Machover Associates Corporation has served such users, suppliers and financial organizations as Adler & Co., ARD, AT&T, Auto-Trol, Bechtel, Boeing, Borg Warner, Calcomp, DuPont, Eastman Kodak, Ford, Frost & Sullivan, General Electric, Gould, Hewlett Packard, IBM, INA, Optigraphics, Polaroid, Prime, Sanders, Summagraphics, Tektronix, WCA Management, Westinghouse, and Xerox. I also serve on a number of Advisory and Editorial Boards, have written numerous articles, and conduct seminars and lectures worldwide. CAREER PROFILES 3.13 Aaron Marcus page 89

Aaron Marcus Aaron Marcus and Associates

Independent Computer Graphics Consultant

What Do I Do? As the founder and Principal of Aaron Marcus and Associates (AM+A), I am responsible for all the work of my firm. AM+A is a consulting business that researches, plans, designs and implements projects in computer-based information-oriented graphic design, electronic publishing, user interface design, and information display. My activities involve marketing our services, overseeing all projects, and providing tutorials on the subjects of our expertise to developers and users of computer graphics systems.

Our projects include determining the appearance and interaction characteristics of computer graphics systems and discovering ways to visualize complex structures and processes. We are primarily called upon to design typographic details, symbols and icons, charts and diagrams, page and screen layout, color, animation and interaction sequences, information organization, and the viewer’s conceptual model or metaphor. This activity may also involve videotaping and interviewing users of computer graphics systems. In addition to requiring both the analytical skills related to the technical means of achieving effective visual communication and the design synthesis skills, our work also requires verbal communication skills. We are usually called upon to organize and write various kinds of documents, such as descriptions, guidelines, specifications, recommendations, and analyses.

My Background My education was originally in physics at Princeton University; then I received a graduate education at Yale University Art School’s Graphic Design Department. I have worked for approximately twenty years as a traditional graphic designer; as an artist working with computer graphics, conceptual art media, and concrete poetry; as a researcher in computer graphics and graphic design; and as a teacher in these subjects. I taught graphic design and computer graphics in universities such as Princeton and the Hebrew University/Jerusalem and in art/design schools for ten years. When I began my work in computer graphics as a summer intern researcher at Bell Telephone Laboratories, Murray Hill, NJ, in 1967, my interdisciplinary background was somewhat unusual. In 1982, I decided to try to put this background to work by creating an independent consulting firm that serves many application areas of computer graphics.

Education Suggestion

To acquire the proper background in our area of work, it would be helpful for someone to have serious interest in, possess skills in, and study the following topics: 3.13 Aaron Marcus SIGGRAPH CAREER HANDBOOK page 90

Information-oriented, systems-oriented graphic design, especially: Typography Symbolism Spatial organization, grids, etc. Color Animation, sequencing, storyboarding Chart, diagram, and document design Publishing Corporate identity programs Graphics editing with computers Information design Technical publishing Human factors, ergonomics, applied psychology, etc.

Some graphic design programs, such as those at Yale Art School, the Institute of Design at Illinois Institute of Technology, the Visual Communications program at Ohio State, and the Graphic Design Department at the University of Seattle, offer courses or curricula oriented to these topics. Those schools with close association or proximity to computer science programs provide especially valuable opportunities. Many art and design schools already provide some courses in these topics, and many university extension programs are now beginning to offer courses focusing on these subjects.

Pluses and Minuses Our business is in a new area of development within computer graphics that is rapidly expanding. Our work provides many exciting challenges: to educate clients, to research and develop new techniques of communication, to have a direct influence on users’ or viewers’ learning, use of, and satisfaction with computer graphics systems. The work is both intellectually stimulating and visually appealing. One advantage is that, like the freelance programmer, a single person may set up shop and maintain a business serving an individual client or a small number of clients, as sometimes happens in the electronic publishing field. Of course it is also possible to join a large corporate group pursuing the same activities.

One disadvantage is that, unlike traditional small-scale graphic design projects, our projects often involve many other professionals and take place over considerable time scales: weeks, months, years. As in architectural design, we must participate in an interdisciplinary team before we see our designs realized, and many times our designs may not emerge as we originally envisioned them because of the intervening time, people, and processes. Our own firm is a small business, with all the traditional advantages and disadvantages; in fact, we are still very much like the small (5 to 15 people) corporate design studio. In some cases, the salaries for small firms or departments of corprations specializing in this field may not be as high as in traditional "high-tech" areas.

Changing Paths For the student wanting to move into this field, I recommend trying to do summer work or part-time work during the academic year in some business working in this field, to see whether the activities, kinds of people, and physical environments are enjoyable and worthwhile. If it is not possible to take a suitable number of courses for a degree in some field related to the subjects mentioned above, it may be necessary to apprentice to some firm and take appropriate extension program courses to acquire the specialized knowledge that is CAREER PROFILES 3.13 Aaron Marcus page 91

necessary. In a few cases, it may be possible to finish an undergraduate program in computer science or computer technology and switch to a graduate program in design and visual communication.

For those planning a drastic career change, please bear in mind that I was once myself nervous about leaving physics, high technology research, mathematics, etc., for the “low technology” subjects of graphic design and visual communication. I discovered that in this new world, I had so much fun, was intellectually challenged, and delighted by all the new ways that I could use my old interests, that I never regretted making a major career change. 3.14 Mike McCulley SIGGRAPH CAREER HANDBOOK page 92

Mike McCulley Senior Art Director Busch Creative Services

Senior Art Director

My current position is Senior Art Director at Busch Creative Services, a subsidiary of Anheuser-Busch. We are primarily an audio-visual firm which specializes in producing large business meetings. Not only do we produce most of the meetings for Anheuser-Busch, our parent company, but we also produce a large amount of meetings for external clients. Some of the clients I have worked with are Southwestern Bell, United Van Lines, Volkswagen and Aetna Insurance.

My main job function is to design and produce various media communications for these meetings. This can range from simple one-projector speeches to multi-projector extravagan- zas in concert with video projection, special-effects, lighting, lazers and choreagraphed theatrical productions. As an Art Director I visualize these elements through storyboards and color renderings.

The computer is sometimes used as a design tool, in developing layouts for staging, storyboards and logo design. I also use it for finished slide work and computer animation. My profession encompasses several categories. I am primarily a user, though I have been an educator, researcher and manager at various stages in my career.

Most of the skills I utilize in computer graphics are from my design and art training from college and on the job. However, one of the most useful skills I learned was in highschool...typing! I utilize it almost everytime I turn on the computer.

I have also found that a positive work attitude, a commitment to quality and most of all, perseverance, are all important to making it in computer graphics. Making it in any kind of graphics position is tough. In computer graphics it is even tougher because not only do you have to be an above average designer but you have to understand many different disciplines. In my job you have to be multidisciplinary. In other words, it helps to be a good writer as well as a good typist, understand business communication, music, art, computers and technology. Above all, you must have discipline. I have never met anyone with talent who was not disciplined in his or her approach to their career. Talent does not just happen, it is an evolutionary process of learned skills applied with creativity and discipline towards a single art form. Whether that art form is wood carving or computer graphics does not matter, the process is the same.

My career as an artist started in 1975 upon graduation from college. I worked in print production and design for three years. During this time period, typesetting was in a transition phase from hot metal type to what we called phototype. There were no phototypesetting shops in the city where I lived (Jacksonville), so we faxed our copy to a shop in Orlando. They shipped it in 24-36 hours or less via Greyhound bus. This was unheard of at the time. The usual turnaround for hot metal proofs was about two to four days. CAREER PROFILES 3.14 Mike McCulley page 93

In 1978, I moved to Dallas and began working in multi image at Creative Communications Group. We used a variety of traditional methods for production. At this time, it was still all manual pasteup of copy and negative stripping for photo drop ins. In 1979, we heard about a computer system that could do slides called Genigraphics. After visiting the new facility and seeing the demonstration, I was greatly impressed. Although the computers’ design capabilities were limited and it could only output 64 colors, it was still amazing. I told my boss about it and he laughed and said it would only be a “passing fad". I resolved, at that time, however, to learn more about computer graphics.

Finally, in 1982, the chance came. I was then Art Director at Mary Kay Cosmetics and in charge of all internal business graphics production. I had been using a Genigraphics Service Bureau for at least a year, but now a new computer graphics company called Dicomed was offering some serious competition to Genigraphics. They had a new concept of selling design stations to the end user, and then using a service bureau for imaging. I liked this idea because it brought control of the design process in house. This brought the cost to under $100,000 for a station, because you did not have to purchase a film recorder which cost $250,000 in those days!

Once we had the system installed and the “bugs” worked out, I was a full-time computer graphics junkie. I began learning all I could by subscribing to the two magazines available, Computer Graphics World, and the new Computer Pictures magazine. I also called for as many demo reels from the pioneers in special-effects and computer graphics that I could get my hands on. The companies and universities using computer graphics at this time were Robert Abel and Associates, NYIT, MAGI, and Triple I.

It was also at this time I attended my first ACM SIGGRAPH conference in Dallas. Talk about sensory overload! I was still mystified by a lot of what I saw and heard there. I didn’t know the difference between a frame buffer and an algorithm. However, I decided to become a Computer Graphics specialist.

During this time period, about 1983, I contracted out for my first 3D Animation project. Up to this point, I had only used film opticals for any motion graphics or film animation. A good friend of mine, who was also a computer graphics enthusiast, had helped develop a 3D system at a local video production facility in Dallas, the first of it’s kind in the Southwest! They output directly to videotape; what a concept! To my knowledge, no commercial 3D systems were available at the time. The animation turned out great, and we used it at the 1983 Mary Kay Seminar.

In 1984, I was hired by Busch Creative Services. BCS handled all the business graphics and meetings for Anheuser-Busch as well as for external clients. One of my duties was to design a computer graphics facility. The facility was completed in 1985 and was considered state of the art at the time. It incorporated a minicomputer system and three PC’s,which were able to output to a Matrix film recorder for high resolution slides. It also had a Sony VO-5850 3/ 4" editing deck for frame by frame animation. The systems used were a Via Video System II (now Du Pont Design Center), a West End Film Artwork (now Pansophic Studioworks), and a Cubicomp Polycad 10.

As I have continued my efforts in computer graphics over the last five years, technology has improved steadily. It is now almost possible to do an animation project without fear of the system crashing during the course of the project. (Did I say that ? Nah.) My system now 3.14 Mike McCulley SIGGRAPH CAREER HANDBOOK page 94

includes a 20 Mhz 80386 compatible with 5 Mb of RAM, 110 Mb hard disk, 40 Mb tape streamer, VGA graphics board, and a TARGA-16 graphics board. For slide and video based projects, I use Pansophic Studioworks, TIPS, and Virtual Video Producer. For desktop publishing, I use WordPerfect and Pagemaker. I have also recently began learning computer music using a Casio keyboard and a MIDI sequencing program on the PC,which can be output through a multi timbral sound module with 16 instruments loaded simultaneously! Looks like computers have affected music as much as graphics!

Sagebrush Wisdom

As an end-user, I would continue to urge artists and students to study computer graphics and emphasize that the computer is just a tool. It will not necessarily make you a better designer. Good design comes from the mind and through the fingers, not from the mouse and keyboard. The computer may help you accomplish your task in a more expedient fashion, as well as let you explore more design alternatives on a given project.

With each passing year the design limitations imposed by computer graphics are fading away. The only limitations I see that will always be with us are the ones we impose on ourselves as creators and the limitations from the clients who purchase our work. That will never change! CAREER PROFILES 3.15 Theresa-Marie Rhyne page 95

Theresa-Marie Rhyne Computer Artist/Independent Art Educator

Portrait of a Computer Artist

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(1), 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. Profes- sionals 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. 3.15 Theresa-Marie Rhyne SIGGRAPH CAREER HANDBOOK page 96

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 to $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 [by] 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. CAREER PROFILES 3.16 Timothy C. Skelly page 97

Timothy C. Skelly Art Director Incredible Technologies

Art Director

I am Art Director for Incredible Technologies, a firm specializing in interactive entertainment — that is, video games. We create video games in many styles and flavors, including hand-held novelties, multi-player networked simulators, games for the home computer, coin- op (arcade) video games and pinball machines. In our spare moments we’ve created software tools, proprietary and commercial hardware and we’ve consulted on interface design projects. Very few projects have not required graphics. As Art Director, I get involved in every type of art we do.

I create art. Generally I use computers — digitizers, paintboxes and modeling/rendering systems as well as proprietary software — I also make art the old-fashioned way. When I was designing our corporate identity, for instance, I ordered and selected type through a typesetting house and did color separations by hand. I rendered our logo in pencil and had an airbrush artist finish it up. (It looks as though it's computer-generated but at that time I could actually draw something like that more easily by hand than on a computer.)

Besides generating art I also research new techniques for creating and presenting graphics and animation. I see that, when art and graphic design are part of our product, they live up to the high standard of quality we have set for ourselves. I design and spec software tools and have input on hardware design. I advise on purchases of computer graphics software and hardware. I train and advise new artists on our systems. Also, like many others at our company, I write proposals for new products.

In short, like many contemporary art directors, I’m a computer user, a software designer, a consultant, an educator, a researcher, a manager and quite a few other things as well.

Artists working on video games are sometimes frustrated by the limitations of the tools we use. For example, we typically have to work with a restricted color palette. (Fortunately, target graphic systems keep improving, allowing artists in our field expanding room to grow and show their talent.) Another downside of this work is that interactive media typically require animations, and in order to animate a subject you have to draw it and redraw it in many different permutations. Artists can learn to loathe the subject of any particular animation after they’ve drawn it a few hundred times.

However, there are many compensations. Obviously, the work is creative; artists in this field usually have considerable influence over the look and feel of the games they work on. (They certainly do at Incredible Technologies.) The work is challenging; not only do we have to keep learning to use new and better tools, but we're also required to keep refining our artistic skills in a wide variety of styles. The art we use can include realistic background paintings, animation, straight graphic design or the integration of all these elements — virtually any technique for creating images you can think of. In addition, designing video games is usually 3.16 Timothy C. Skelly SIGGRAPH CAREER HANDBOOK page 98

a collaborative process, often involving both artists and computer programmers. Most artists enjoy these collaborations. Finally, the work is exciting. We work under intense pressure sometimes, in order to make deadlines. The stakes are high — this is a multi-million dollar industry, with a lot riding on each game we design. Some people might find that stressful, but most of us who stay in the business enjoy that intensity.

Incidentally, while I have no reason to complain about my own salary, I should mention that entry level salaries for artists in my field are quite low. (I’m afraid this is characteristic of fields where the work is creative and fun.)

My job uses just about every skill imaginable. I need nearly all the art and graphics skills of any traditional art director plus a high level of comfort with using computers and learning new systems. I need interpersonal skills to teach, manage, and work in collaboration with others. I even have to be able to write. Perhaps most important, and hardest to pin down, is that I have to stay in touch with popular culture. Because we serve a mass market — and one that’s relatively young, at that — my abilities as an artist and my imagination must remain abreast of the times and ahead of our competitors.

For those who want to enter this field, traditional art and graphic skills — particularly the ability to draw — are most important. Knowledge of specific computer art tools is not really necessary at entry level because these tools vary greatly from site to site, and today’s graphics systems are easy to learn. As a result, someone could be hired to work in my field even if their only experience was as an artist. The employer would expect to provide graphics system training.

In order to advance in this field, however, an artist will need at least some inherent talent as a game designer. In addition, to communicate well with programmers, an “interactive artist” should have some basic knowledge of how computers work. It is also necessary to speak some of the jargon of programmers.

I advise newcomers hoping to get into this field to develop their artistic skills and learn how to use the standard computer operating systems. It also wouldn’t hurt to learn some programming, preferably assembly language.

My life has almost always included both graphic arts and computers. I’ve been a cartoonist and illustrator for as long as I can remember; I was doing illustrations professionally while I was still in college. Around 1973, I had a brief career as a fine artist working with video. My interest in computers goes back to the early ‘60’s. Even before the personal computer had been born, I’d taken courses in digital electronics and assembly language programming in my spare time.

It was about 1977 when I saw my first personal computer (a Poly-88, if anyone remembers). At about the same time, coin-operated video games were introduced, making computer graphics part of the interactive entertainment industry. (Previously, people had interacted with pinballs, shooting galleries, and other machines.) I knew that, crude as graphics were, this was a field I wanted to explore.

I spent a year writing games in Basic for the Poly-88 and then sent off resumes to video game manufacturers. What I was really hoping for was a job in Atari’s art department. A few weeks later I was astonished to find myself the sole programmer at Cinematronics, the company that CAREER PROFILES 3.16 Timothy C. Skelly page 99

introduced vector graphics and Space Wars to arcades. At Cinematronics, I designed StarHawk, Sundance, Warrior, Rip-Off, StarCastle, Armor Attack and had a hand in a few more games. Three years later, I moved to Chicago, where I free-lanced game designs and programming. One of my designs from this period was a game called Reactor. In 1985, Free Radical Software (which later became Incredible Technologies) was formed by a small group of people who’d been active in the video game industry for years, where I became Art Director.

It looks as though my field is going to keep getting more challenging, and the opportunities are going to expand, as graphics systems continue to become more sophisticated. Recently, higher resolution displays have even brought in film, video and still photography as graphic elements. Few fields offer an artist the chance to work with so many forms, styles and techniques. There doesn’t seem to be any end to what we’re going to be able to do. 3.17 Stephen N. Spencer SIGGRAPH CAREER HANDBOOK page 100

Stephen N. Spencer Advanced Computing Center for the Arts and Design The Ohio State University

Supercomputer Graphics Research Specialist

My title is “Supercomputer Graphics Research Specialist I”. I work at the Advanced Computing Center for the Arts and Design (ACCAD) at The Ohio State University in Columbus, Ohio.

The work I do falls into several categories. First, I help develop and maintain software used by graduate students, faculty, and staff at ACCAD. This software includes data generation tools, illumination and rendering tools, and image display programs. My position is funded through an Academic Challenge Grant from The Ohio State University, an interdisciplinary effort of the Departments of Art Education, Industrial Design, and Photography and Cinema. The second aspect of my work is developing and maintaining software for, and offering advice and consultation to members of the faculty and students in the Industrial Design Department. The last area in which I work is that of research. I am continuing research, which began while a graduate student, into realistic illumination models for computer graphics.

Perhaps the two most positive aspects of my work are the tremendous flexibility and diversity of the projects and people with whom I am involved. I count among my colleagues: artists, animators, interior designers, architects, engineers, and computer scientists. This diversity leads to stimulating conversation, different points-of-view, and an ever-changing environment, something I enjoy very much. The projects I am involved in, while all utilizing some aspect of computer graphics, are varied to the extent that changing projects, whether for a day or a month, brings a new vitality to the work at hand.

My profession lets me “wear the hats” of designer and researcher.

The projects in which I work require an in-depth knowledge of both two- and three- dimensional graphics techniques, including transformation, perspective, graphical data structures, illumination model calculation, and rendering methods. Documentation of the software I have written and maintain requires a good working knowledge of the English language and of technical writing skills. A computer program, whether simple or complex, cannot be used to its potential if the user cannot understand HOW to use it.

My involvement with personnel, both here at ACCAD and the Industrial Design Department, require that I have good communication skills (both speaking and listening) and the ability to understand others’ problems and apply my knowledge of computer graphics to help in their solution. CAREER PROFILES 3.17 Stephen N. Spencer page 101

Were I to recommend skills useful to one in my position, I’d certainly include more mathematics than one thinks one would need, indepth study of computer algorithms and data structures, and a good bit of technical writing.

My introduction to computer graphics was, as far as I can remember, watching the Disney production “TRON". I became involved in computers as an undergraduate at the University of Florida, and taught myself FORTRAN in order to understand the graphics programming examples in a computer graphics book I bought. My early involvement, in short, was self- education.

I applied to The Ohio State University for graduate study in Computer Science because I knew of their involvement in computer graphics. It wasn’t until I arrived and started taking classes that I heard of the Computer Graphics Research Group, the predecessor of ACCAD, and of its leader, Dr. Charles Csuri. Eventually, I received a Graduate Research Assistantship through CGRG, where I worked on illumination model research, with a small group of people to develop an easily extendable and efficient ray tracer.

Attending ACM SIGGRAPH '86 in Dallas opened my eyes: an entire week of nonstop computer graphics, covering all ends of the spectrum. In 1987, I began working with the radiosity illumination model, and developed an alternative to the “hemicube” method of form-factor computation as my Master’s thesis project. After I graduated from The Ohio State University in 1988, I was hired by ACCAD, where my work with advanced illumination models and data generation fit very well with the computing needs of faculty and students.

I believe the outlook for my profession is very bright. The increasing use of computer graphics, both in education and entertainment, means that opportunities for research and program development in this area are limitless. In addition, as computers become, simultaneously, more complex and more affordable, research into computer graphics techniques will grow, providing more career opportunities.

Advice: take more mathematics courses than you think you’ll need; you’ll find uses for all of it. Identify the various research publications containing computer graphics related articles and stay well read. 3.18 James J. Thomas SIGGRAPH CAREER HANDBOOK page 102

James J. Thomas Lead Scientist, Computation Science Department Battelle Pacific Northwest Laboratories

Lead Scientist

A Lead Scientist position within an applied research organization is responsible for stimulating, guiding, and developing new technology that directly results in implementing systems. I would offer that this research environment is between a position in industry, where there is a product that is developed, refined and supported, and a university environment, where published papers are the primary product. A lead scientist must be knowledgeable in most areas of computer science ranging from real time systems, artificial intelligence, data base, networking, system integration, user interface, and, of course, graphics and visualization. I have used graphics, user interface, and compiler technology in most of the projects that I have been involved with over a 20 year career.

Interdisciplinary Science

At Battelle, most of the projects are interdisciplinary. This requires that I and others within the Computational Sciences Department, must be willing to learn other disciplines to effectively apply advanced computer technology. For the first several years, I thought I could just listen and design systems based on little knowledge of the other discipline. Then I had an experience that involved a five year project in the discipline of genetic engineering. This project required that I learn genetic engineering to the point where I could perform simple cloning experiments. From this knowledge, I gained the insight to work and design a system that has received several international science awards. Other projects have required me to learn statistics, geology, acoustics and non destructive testing, fluid dynamics, energy science, as well as radar and magnetometer technology.

Science Wasn't What I Expected

Science is not just conducted in a lab or working on a terminal to develop a program or system. Science involves developing concepts, writing those concepts, selling them to management, selling them to clients, and if your lucky, staffing and managing the project to develop a concept or system. Then you must give presentations to management, sponsors, and at technical meetings and conferences. This was a lot different from my high school and college views of a career in science. The watchword of science is communication. When I give presentations to students, I recommend that they take a debate class. At least once a day I am debating a technical, management, or project issue. My weakest skill, writing, has also had an affect on my career. CAREER PROFILES 3.18 James J. Thomas page 103

Helping Staff Grow

A senior scientist role is not just to develop science. An unexpected pleasure in my career has been helping others develop their careers. By guiding them through tough situations with technical challenges, encouraging them to take appropriate classes, getting involved with professional organizations, helping them work in team situations and writing letters of recommendation, you become part of the staff development process. Many times giving the best guidance in a technical career is more difficult than working on a scientific development. Yet, there are few technical pleasures greater than coaching a junior scientist through new opportunities.

ACM SIGGRAPH, A Part of Career Growth

An important part of my career is SIGGRAPH. I got involved by presenting a paper in 1975. At that conference I attended an Executive Committee meeting where they were attempting to guess the memberships’ background and interests. I volunteered to conduct a membership survey. From that point on, one activity lead to another. I presented more papers, becameTechnical Program Chair for SIGGRAPH 80, co-initiated the GIIT workshops on graphical interaction techniques now call the User Interface Software and Technology Symposium, taught several courses at SIGGRAPH, and became a course area organizer.

Then came the big assignment: Co-Chair of SIGGRAPH ’87. Don’t ever accept such a commitment unless you are willing to change your life! It was a great growing experience for me. Managing a $5,000,000 activity with absolute deadlines will always improve management skills. It also clearly pointed out the importance of team playing. You learn to delegate and rely on others. The committee members for SIGGRAPH ’87 will always have a special place in my life.

I certainly didn’t have an ambition to become the Chair of SIGGRAPH until just a few years ago while co-chairing SIGGRAPH 87. I was fortunate to be nominated for Vice Chair of Conferences and then elected as Chair. As I look back over the “SIGGRAPH years”, the people with the enormous amounts of energy is what stimulated to me to contribute to this lively volunteer organization. I obviously hope others will find the same professional stimulation within SIGGRAPH.

To Volunteer or Get Paid

Did SIGGRAPH help or hinder my paid employment?? I feel SIGGRAPH definitely helped my career at Battelle. Not as directly as one might hope, but in being active with others in the community, I knew what was going on, what technology was being developed, and who to call when I looked for technical collaborators. I didn’t have to redevelop technology and was able to learn from the experiences of others, and influence the direction of my own technical interests. I am not sure what Battelle management would say about the same question, but I have been fortunate in becoming one of the first Lead Scientists within the department now employing about 150 people. 3.18 James J. Thomas SIGGRAPH CAREER HANDBOOK page 104

The Importance of Team Work

Another key lesson that I have learned is that I am rarely the sole developer of a concept of idea. Almost all good ideas have been expressed at one time or another. It is the team of motivated staff that transforms the idea into reality who are the true entrepreneurs. Usually good ideas come from project team discussions, planning sessions, casual conversations, or even during social settings with many of my SIGGRAPH colleagues. Also, I belong to several other SIGs and professional organizations. This is required for me to keep abreast of technical advances.

Prior to joining Battelle, I was employed by the General Motors Research Laboratories. Thanks to sound guidance from the senior staff at GM, I was able to establish a good foundation for a career. I focused in graduate school in programming languages. With that background, I started within the compiler team. I then had the opportunity to join the graphics group, where I could finally focus on graphics, which had been my area of interest ever since my first programming course.

Throughout my career in computer graphics and interaction techniques, I have always been interested in the human computer interface. SIGGRAPH was the location for technical stimuli. Battelle provided the situation where I could develop real systems for people with interactive information situations. CAREER PROFILES 3.19 Kathy Wolfinger page 105

Kathy Wolfinger Technical Writer Archsoft Group

Technical Writing

Technical writing is the oxymoron of professions. In it, two disparate circles of thought are brought together. Think of your average technical person: nuts, bolts, hardware, pocket protector. Now, think of your average writer: nature, tie dyed clothes, “the experience,” granola. These are stereotypes, of course. Yet they illustrate the seeming impossibility of this profession. This oxymoronic environment fosters challenge, variety, and, sometimes, frustration for those who choose to work in it.

I have a bachelor’s degree in English Education and a Computer Science minor from The Ohio State University in Columbus, Ohio. My search for a teaching position was fruitless. In the fall, teenagers and tykes began the school year. I moved to other orchards. Insecure as a computer programmer, I looked for something a little less “technical.”

I was hired at American Telegraph and Telephone (AT&T) as a technical writer for computer hardware. AT&T’s national training center is in Dublin, Ohio. I was to revise a classroom textbook based on new developments in their latest data switching monster. I enjoyed the work. Communicating with the engineers, teachers, and students then synthesizing in writing was very satisfying. However, bureaucracy dampened even the largest accomplishments, and I began looking for another job.

During my search, I often reflected on my years as a scoreboard staff member of Ohio State. The staff is responsible for programming, organizing, and operating two video resolution display matrices capable of bit mapped graphics: one in Ohio Stadium, one in St. John Arena. The scoreboards cost in excess of three million dollars. The staff produces animations that are shown at athletic events. These animations are created by digitizing art work or by manipulating images through software. Editing is then possible through a paint program interface. Although unable to draw anything of significance with my own two hands, I participated in the animation process to other degrees. The scoreboard introduced me to computer graphics. Its growing capabilities and popularity with the spectators has held my interest every since.

In the midst of my job quest, I came upon a small software company in Westerville, Ohio. Archsoft Group (ASG) produces third party graphics software for AutoCAD. Their products focus mainly on the Architectural, Engineering, and Construction (AEC) professions. AutoCAD is an all purpose drawing system. I call it plain vanilla. ASG tailors AutoCAD by making it easier to draw specific entities. These entities are grouped by profession. For example, ASG’s Architectural package allows you to draw walls, doors, windows, stairs, and so on, simply by specifying dimensions. In other words, by adding marshmallow cream, 3.19 Kathy Wolfinger SIGGRAPH CAREER HANDBOOK page 106

chocolate sauce, and nuts, you can make the plain vanilla into something a little tastier. Experts have estimated the marketplace for this type of software to be in the vicinity of 250,000 users. The idea of working with Computer Aided Design and Drafting (CADD) fascinated me. I began with ASG in March of 1989, and I am still with them today.

My primary responsibility is the writing and producing of user manuals. I use the software intensively to organize and write manuals. I produce pictures to accompany the text using AutoCAD and ASG software. Desk top publishing allows me to integrate text and illustrations. Because ASG is a small company my other duties are numerous and varied. They include: technical support, ASG newsletter, magazine articles, proofreading and editing, video scripts, tutorials, manual supplements, on-line documentation, and the documentation standards committee.

The most difficult part of my work is writing. A painting is created by its artist with the purpose of being seen, not written about on paper. Writing about graphics, about drawing, sometimes seems impossible. ASG’s newest product, 3D Piping™ allows users to lay out entire piping diagrams in three dimensions. Conveying the ease of 3D to engineers who are used to drawing on paper (a two dimensional medium) is no easy task. I mull over functions for days, attempting to find the right analogy. My technical-side is constantly at war with my teacher-side. The teacher writes on and on until she is sure you have finally “got it"; then, the technical commando marches along beside paragraphs, jabbing out sentences that do not state the facts. Sometimes, in the end, all of the writing and pictures still fail to convey the whole concept.

Deadlines are probably the technical writer’s most feared foe. Because the reproduction cycle is much longer for the manual than for the software, the documentation must be finished before the software. Unfortunately, one small last minute change in the software can force you to rewrite numerous sections, recapture picture sequences, or regenerate the entire index. One change can wreak havoc on a manual. In the end, it is never perfect; the manual never completely matches the software. Even though this is an inevitability, it grates on the soul.

I approach a job’s inherent difficulties as challenges. Even if I am unable to conquer them, a positive strategy makes them a less prevalent part of my day. The victories of technical writing provide me with ample reward for the gumption.

I love my job because it provides so much variety. I can write all day. I can draw all day. I know the software inside and out. I report bugs, suggest changes, and give technical support. I am confident in my writing ability. I can explain the most difficult functions, develop documentation standards, edit other’s work. I can produce a manual from start to finish. I have the final “say” on everything that concerns the manual I am managing. Seeing months of work printed, indexed, tabbed, bound, routed to hundreds of users is a great feeling.

My college degree is in education, and everyday I fulfill that need to teach and learn. In any one day, I may help a couple of software dealers or end users on the telephone, teach a colleague about a new command, research a component that has been added to a menu, or write several paragraphs that are bound to teach someone, somewhere, something. CAREER PROFILES 3.19 Kathy Wolfinger page 107

A technical writer needs the following qualities: inquisitiveness, drive, persistence, strong writing skills, and concise writing style. Only a few colleges offer a technical writing major. As a result, most technical writers are self taught. You will need to implement the above qualities to accomplish the necessities of any technical writing project. You must be able to talk and get answers. Technical people are often “toughies,’ seemingly unsociable yet actually very human and sensitive. Your relationship with them is critical if the documentation is to accomplish its objective.

Refine your writing skills through practice. Companies hiring a technical writer will ask to see samples. If you can show them a couple of pieces that are clear, well written, and clean, you greatly increase your changes of getting the job. They will then expect you to learn the technical subject they deal with.

If you have ever read a technical manual, you know that the technical writing profession was created out of necessity. Good writers are needed to translate technical data into lay terms. It is one of the fastest growing professions in the United States. I would advise anyone entering technical writing to first start with a company and acquire skills and techniques. When you are confident in your abilities, the options are unlimited.

Technical fields cover a broad range of interests. Last night I put together a shelving unit for my bathroom whose directions could have used a good technical writer, not to mention a spell checker. I recently sat next to a man a plane that needed a writer for a sports equipment inventory package. He was disappointed in the writing skills of the applicants he had interviewed. He may still be looking!

Many technical writers go on to free lance. Smaller companies cannot always afford to hire a full time writer. Therefore, they hire on a contract basis. Free lance writers have the benefits of homemade hours, salary, and job selectivity.

I entered a computer graphics profession by accident while searching for a job that would provide me with both technical and creative outlets. If this is your ambition, technical writing provides an abundant supply of stimuli for both sides of your brain. If you do enter technical writing, you will feel the need to participate in our goal (maybe it is just my goal): We will one day put an end to the cliche, if all else fails, read the directions. 3.20 Thomas Wright SIGGRAPH CAREER HANDBOOK page 108

Thomas Wright Computer Associates

Graphics Systems Software Professional

I currently manage the graphics software development for Computer Associates, the largest independent software vendor in the world. I came to this position through a technical path in the scientific part of computer graphics, a discipline referred to as “data representation graphics.”

At the University of Colorado (CU) in the sixties there were almost no computer science classes for undergraduates. In fact, I was majoring in Applied Mathematics, and had received no exposure to computers in high school. CU was not atypical in considering Computer Science to be a field for graduate students with a mathematics background. Fortunately, due to the newly initiated “advanced placement” concept, I was able to start on sophomore calculus right out of high school at summer school. Thus by the middle of my freshman year I had the prerequisites for the beginning graduate level computer science courses. Having fallen in love with computing while taking the first of the two undergraduate computing classes available, I launched into the graduate computer science classes with a vengeance, eventually taking essentially all that were available by the time I graduated.

During college I spent my summers working at the computing center of the university in my home town doing applications programming for professors. During my senior year at CU, I was able to get a part time programming job at the National Center for Atmospheric Research (NCAR). It cut seriously into my pool playing, but a part time job gave me an important advantage for getting started in the professional world. It meant I was able to get a permanent position there with comparative ease while many of my classmates had difficulty finding opportunities they wanted to pursue. As a conscientious objector, I was able to work at NCAR part time while doing my alternative service at a school for retarded children, ultimately staying at NCAR for over nine years.

NCAR at this time was a hotbed of advanced scientific computing with leading edge technology in data representation graphics. This area of graphics is devoted to the portrayal of large amounts of numeric information which is already on the computer. It differs from CAD/CAM (Computer Assisted Design/Computer Assisted Manufacturing), which is principally concerned with the generation of numeric information and digital designs. Although we produced animations, they were for scientific study and were not concerned with realism. Business graphics is technologically a subset of data representation graphics, although the amount of data in business graphics is generally much smaller than in the scientific world. Early on, I worked for David Robertson, a pioneer in data representation graphics. Under his leadership, we created a system that in the early Seventies was being used by the 90 or so scientists at NCAR to produce about 10,000 contour maps, 10,000 x-y plots, and 10,000 other scientific graphs per day on mainframe computers. We were very proud of the fact that the scientists produced more graphs than printed pages of output. CAREER PROFILES 3.20 Thomas Wright page 109

Much of my initial work was in areas some might consider graphics applications, such as algorithms for portraying velocity fields. I published several papers on hidden line removal for scientific data using mesh diagrams for two and three dimensional arrays of data.

When Dave moved on into network programming, I took over the graphics project and began working on the new concepts of device independent, portable graphics systems. Through the influence of Jim George, I submitted papers on these topics to the earliest SIGGRAPH conferences, homey gatherings of the first few hundred computer graphics professionals. Together with associates at Los Alamos Scientific Labs, we did a good deal of early work on metafiles, writing graphics to a file which is later translated for the specific graphics device on which it will be drawn. As near as I can determine, Dave and I coined the term.

In 1979 after porting the NCAR graphics to the first Cray supercomputer ever sold, I moved on to ISSCO in San Diego. ISSCO, a presentation graphics company, developed some very popular packages, including DISSPLA, a collection of subroutines written in FORTRAN. It was challenging to jump into the 8.2 release of DISSPLA in a little company of 27 people. Everyone was talking about QQ-this doing such-and-such and QQ-that doing so-and-so, referring to the naming convention for routines internal to DISSPLA. Fortunately the architecture was enough like the NCAR package that I was able to pick it up quickly. The commercial orientation of the company was new and refreshing to me, coming from a background of government sponsored research. We put a great deal of effort into different types of user interfaces, ultimately creating systems with natural language commands, prompting, and screen interfaces to front end the original programmers interface. I still feel the last is perhaps the most important, because it is through production, through the creation of large numbers of graphs, that computer graphics achieves its potential of reducing unmanageable quantities of data to an understandable form.

As ISSCO grew I was fortunate enough to gain experience in a variety of areas: system designer, project manager, functional manager of a group, second level management (directing Development), and an interesting stint as a Business Unit Manager responsible for Marketing, Development, and Support for a product line.

The takeover of ISSCO by Computer Associates was a good learning experience as well. The new management helped us gain a new perspective on our products and begin to seriously look at the problems of integrating computer graphics into the larger fabric of computing. It is through this integration that computer graphics will gain its next surge of growth.

I have learned that regardless of the position, it is vital to really understand the underlying technology. I still regularly participate in product specification, design, and coding. To me, the rest is boiler plate. COLLEGES AND UNIVERSITIES SECTION 4

COLLEGES AND UNIVERSITIES

USING THE DIRECTORY 112

COMPUTER GRAPHICS CONCEPTS AND SYSTEMS 114

COMPUTER GRAPHICS IN ENGINEERING, CAD/CAM AND DRAFTING 152

COMPUTER GRAPHICS IN THE ARTS, ARCHITECTURE, AND DESIGN 161

COMPUTER GRAPHICS IN GEOGRAPHY AND GEOLOGY 181

OTHER COMPUTER GRAPHICS APPLICATIONS 185

COMPUTER GRAPHICS BIBLIOGRAPHY 186 SIGGRAPH CAREER HANDBOOK page 112

Colleges and Universities Offering Computer Graphics

This is the ACM SIGGRAPH’s third directory of college and Universities offering computer graphics courses. It was compiled from responses to a Spring 1989 questionnaire. If you are a student entering college or considering a change of studies, a professional considering broadening your skills, or an educator seeking contacts among your peers, this directory is designed for you.

The directory is divided into sections by major computer graphics application areas. All courses which may pertain to your area of interest may not be listed in one application area, as computer graphics courses are multidisciplinary by nature. For example, if you are interested in graphics for architects, you should consult the Arts, Architecture and Design listing. However, you might also find useful information listed under Engineering, CAD/ CAM and Drafting. Should you find one or more institutions offering courses which interest you, contact the school directly for schedules, cost and admission information.

These directory listings are based on information submitted by various institutions in response to our questionnaire. Listing of any specific institution or course does not imply ACM or SIGGRAPH endorsement.

Using the Directory

Each directory is ordered alphabetically, first by state and then by the institution's name within each state. Entries from Canada and abroad follow the US entries, using the same format. Each institution’s listing provides an address and contact line, with one or more course or Project entries, organized as follows:

School, Department, Address Contact Person, Phone Network Address

Course Name, Level, Prerequisites, Frequency, System Support Textbook(s).

Example:

Arizona State University, Computer Science, Tempe, AZ 85287 Greg Nielson, 602-965-2785 [email protected]

Intro to Computer Graphics U PM T IBM PC’s Hearn & Baker COLLEGES AND UNIVERSITIES page 113

In the course listings, some of the items are abbreviated by single or multiple letters, which are used as keys. Multiple letters are used where more than one choice applies per category.

Level Prerequisite

L: Lower division N: None U: Upper division P: Programming G: Graduate G: previous Graphics course P: Professional M: Mathematics course (Projects: undergraduate) A: Advanced computer course

Frequency

T: each school Term A: Annual D: Demand B: Biennial

The system support for a course or Project refers to the computers, peripherals and software used. Some model numbers have been omitted and families of devices may be referred to by product name. The entry “same” means that a course uses the same system or text as the listing immediate preceding it.

If the questionnaire respondent cited a text, the author of the text is listed with the applicable course. A complete listing of all the texts is provided in a bibliography immediately following this directory. If a text was not cited, or none is used, no text is shown. If an instructor developed the course materials, “course notes” is shown. If papers from journals were referenced, these are listed as “readings”. It should be noted that if a specific text could not be located in Books in Print, it was not included in the bibliography.

Finally, some institutions offer independent study Projects, which are listed as “Projects”. These Projects may vary from simple drawing experiments to the creation of complex artificial images. Concepts and Systems SIGGRAPH CAREER HANDBOOK page 114

Computer Graphics Concepts and Systems

ALABAMA

Jacksonville State University, Mathematics, Computing, and Information Sciences, Jacksonville, AL 36265. Martha McCormick, 205-231-5269

Computer Graphics U AM A IBM PCs, Turbo PASCAL

Tuskegee University, Computer Science, Tuskegee, AL 36088. Dr. Chen, 205-727-8593

not specified U PM A PC XTs, VAX 11/70, software Foley & Van Dam

ARIZONA

Arizona State University, Computer Science, Tempe, AZ 85287 Greg Nielson, 602-965-2785 [email protected]

Intro to Computer Graphics U PM T IBM PC’s Hearn & Baker Advanced Computer Graphics G PMG A Raster Tech, Iris Adams Geometric Modeling G PM A same readings Projects UG same

University of Arizona, Computer Science, Tuscon, AZ 85721 Scott Hudson, 602-621-6613 [email protected]

Computer Graphics G PAM A Suns, Raster Tech Foley & Van Dam Projects G same

ARKANSAS

Arkansas Technical University, Computer Science, Russelville, AR 72801 James R. Abele, 501-968-0670

Computer Graphics U PM B IBM PCs, plotters, AutoCAD, PC paint Hearn & Baker Projects U same COLLEGES AND UNIVERSITIES Concepts and Systems page 115

CALIFORNIA

California State Polytechnic University, Computer Science, Pomona, CA 91768 Chung Lee, 714-869-3449 [email protected]

Advanced Computer Graphics U G A VAX 8530, IBM-XT, AT, PS2, Cyber Foley & Van Dam Projects UG same

California State University - Dominguez Hills, Computer Science, Carson, CA 90747 Frank A. Chimenti, 213-516-3398

Computer Graphics I U AM T IBM PS/2s, Apollo 4000s Berger Computer Graphics II U GM T same Harrington Projects U same

California State University - Fresno, Computer Science, Fresno, CA 93740 Brent Auernheimer, 209-294-4373 [email protected]

Computer Graphics U PM D Sun3, NeXT workstations Projects U

California State University - Long Beach, Computer Science and Engineering, Long Beach, CA 90840 Michael K. Mahoney, 213-985-1550 [email protected]

Computer Graphics U PM T IBM AT/EGA, Amiga2000, GKS Turbo C&PASCAL Hearn & Baker, Salmon & Slater Advanced Computer Graphics G PAGM A Apollo 3500, NeXT, PHIGS Rogers, Pokorny & Gerald Projects UG same, Mac II

California State University - Northridge, Computer Science, Northridge, CA 91330 David Salomon, 818-717-5051 [email protected]

Computer Graphics U P A

California State University - Stanislaus, Computer Science, Turlock, CA 95380 Steve Cunningham, 209-667-3176 [email protected]

Computer Graphics I U A A Tek6130/4105, Sun3/60, Bell & Howell Hearn & Baker Computer Graphics II U P B Concepts and Systems SIGGRAPH CAREER HANDBOOK page 116

Diablo Valley College, Computer Science, Pleasant Hill, CA 94523 David Y. Wen, 415-685-1230

Intro to Computer Graphics L PM T IBM, 4381, IBM PS/2, Amiga Adams

Foothill College, CIS, 12345 El Monte Rd, Los Altos Hills, CA 94022 Michael Loceff, 415-960-4384

Intro to Computer Graphics Programming L P T Tandem, AED frame buffer, Iris 2400 Rogers 3-D Computer Graphics and Solid Modeling U PGM A Tandem, AED frame buffer, Iris 3000 Rogers, Hall Topics in Computer Graphics Algorithms U PGM A Silicon Graphics 4D & 3000 series Barsky et al, Enderle et al Introduction to Image Processing G AGM A Silicon Graphics 4D series, Amiga 2000/ digiview Bracewell, Castleman Intro to Iris 4D and 3000 Series Workstations U Silicon Graphics 4D and 3000 series user’s manuals

Modesto Junior College, Art Department, 435 College Ave, Modesto CA 95350 Terry Hartman, 209-575-6076; Kathy Short, 209-575-6141

Micro-computer Graphics L N T Amigas, Macs, IBMs, wide variety of I/O devices and software packages

Naval Postgraduate School, Computer Science, Monterey, CA 93943 M. J. Zyda, 408-646-2305 [email protected]

Computer Graphics G PM B VAX 11/785, IRIS 4D/70GT, ISI Hearn & Baker Interactive Computation Systems G PAG A Macintosh, PC’s course notes, manuals Advanced Topics in Computer Graphics G G B VAX 11/785, Iris, ISI Joy, Thalmann, readings Projects G same

San Francisco State University, Computer Science, 1600 Holloway Ave, San Francisco, CA 94132 Lawrence S. Kroll, 415-338-2539

Computer Graphics System Design U AM T HP-1000 Foley & Van Dam COLLEGES AND UNIVERSITIES Concepts and Systems page 117

San Jose State University, Mathematics/Computer Science, San Jose, CA 95192 Max Agoston, 408-277-2411

Geometry for Computer Graphics L PM T PC ATs (EGA) Foley & Van Dam Computer Graphics Algorithms L G A same Rogers Advanced Topics in Computer Graphics G GM A same Mortenson

Sonoma State University, Computer & Information Science, Rohnert Park, CA 94928 Richard Gordon, 707-664-2667

Computer Graphics U PM A Mac IIs, Calcomp 1042, film recorder AG7500, video recorder, MiniVas Pokorny & Gerald Advanced Computer Graphics U PGM D same same

University of California - Berkeley, Berkeley Comp Graphics Lab, Berkeley, CA 94720 Brian A. Barsky, 415-642-9838 [email protected]

CS 184 U PAM T VAX, Sun, Tektronix Hearn & Baker CS 284 G PAM A same same, Bartels/Beatty/Barsky CS 285 G PAM A same same CS 291A G PAM D same same Projects G same, PS300, Adage, IBM, Lyon Lamb, Bosch, Sony, RCA

UCLA, Mathematics, Los Angeles, CA 90024 Kirby A. Baker, 213-825-1947 [email protected]

Mathematics of Computer Graphics U PM A Sun 3/50s Pokorny & Gerald Honors Project Seminar U PM A same same

University of California - San Diego, Mathematics, La Jolla, CA 92093 Donald W. Anderson [email protected]

Geometry of Computer Graphics U MP A PC ATs (EGA), Laserwriter Farin Concepts and Systems SIGGRAPH CAREER HANDBOOK page 118

University of California - Santa Barbara, Computer Science, Santa Barbara, CA 93106 Y. T. Wang, 805-961-3866 [email protected]

Computer Graphics U PM A 24 Sun 3/50, 6 Sun 3/110

University of California - Santa Cruz, Computer and Information Science, Santa Cruz, CA 95064 J. Wilhelms, 408-429-2565 [email protected]

Intro to Computer Graphics U PAM T 386 PCs(Immagraph) Computer Graphics G PAG A same, SGI Irises Computer Animation G PAG A same Image Processing and Display G PAM A same Projects UG same

COLORADO

US Air Force Academy, Computer Science, Colorado Springs, CO 80840 Dino Schweitzer, 719-472-3590

Computer Graphics U P A Zenith (Vista), Ramtek Hearn & Baker

University of Colorado - Colorado Springs, Computer Science, Colorado Springs, CO 80933 S. K. Semnal, 719-593-3545

Intro to Computer Graphics AM A HP9000/310s & 330s Foley & Van Dam Advanced Computer Graphics AM A same same

Western State College, Computer Science, Gunnison, CO 81231 Donald Maguire, 303-943-2059

Computer Graphics U PM A VAX 8350, Tektronix, IBM-PC, plotter Harrington Projects U same

CONNECTICUT

Connecticut College, Mathematics Department, New London, CT 06320 Perry Suskind, 203-447-1911

Intro to Computer Graphics M T IBM PS2s, Drafix

Fairfield University, Mathematics & Computer Science, Fairfield, CT 06432 Joan Wyzkoski, 203-254-4000, x2512 [email protected]

Computer Graphics U PM D IBM XT, HP plotter Harrington COLLEGES AND UNIVERSITIES Concepts and Systems page 119

Trinity College, Engineering & Computer Science, Hartford, CT 06106 August E. Sapega, 263-297-2223

Special Topics U AM A GKS, Sun

DISTRICT OF COLUMBIA

The George Washington University, Electrical Engineering and Computer Science, Washington, DC 20052 James D. Foley, 202-994-6083 [email protected]

Interactive Computer Graphics I UG PM T Macs, PS/2(80s), Suns, HP360 SRXs Foley, Van Dam, Feiner, Hughes Interactive Computer Graphics II UG PGM A same plus HP385 turbo SRX same plus readings Interactive Computer Graphics III G AGM A same same plus readings

University of DC, Computer Science, Washington, DC 20008 Edgar F. Bertaut, 202-282-7345 EBERTAUT@UDCVAX

Computer Graphics U A A VAX 8650, VAX 11/780, Tek 4105, HDS Newman & Sproull Projects U same plus C-64

FLORIDA

Florida Institute of Technology, Computer Sciences, Melbourne, FL 32901 William D. Shoaff, 407-768-8000, x8066 [email protected]

Interactive Computer Graphics I / II U PM T Suns, CORE, PHIGS Foley & Van Dam

University of S. Florida, Computer Science & Engineering, Tampa, FL 33620 A. Tokuta, 813-974-4196 [email protected]

Intro to Computer Graphics UG P A Suns, PHIGS, VAX 8350, PCs Foley & Van Dam Raster Graphics G P A same same plus readings Computer Vision G MA A same plus Ardent Titan Ballard & Brown Concepts and Systems SIGGRAPH CAREER HANDBOOK page 120

GEORGIA

Augusta College, Department of Mathematics & Computer Science, Augusta, GA 30910 Shirley A. Hermitage, 404-737-1672

Computer Graphics U A B PCs (IBM & Zenith), VAX Hearn & Baker

Georgia State University, Mathematics & Computer Science, Atlanta, GA 30303 G. Scott Owen, 404-651-2245 [email protected]

Computer Graphics Algorithms U PM A PS/2s Hearn & Baker Advanced Computer Graphics Algorithms G G A PS/2s, Sun 386i Rogers, IEEE tutorial, SIGGRAPH notes

Mercer University, Computer Science, 1400 Coleman Ave, Macon, GA 31207 David L. Cozart, 912-744-4087

Computer Graphics I U P B Graphicus 80, Raster Tech, CORE, GKS Foley & Van Dam Computer Graphics II U G B same same

Spelman College, Mathematics & Computer Science, Atlanta, GA 30314 Medhi Sayfi, 404-681-3643, x559

Computer Graphics U AM A IBM PCs (EGA), VAX 11/780 (GKS) Hearn & Baker

IDAHO

Boise State University, Mathematics, Boise, ID 83725 Daniel G. Lamet, 208-385-3380

Intro to Computer Graphics U PM A MS DOS computers Harrington

ILLINOIS

Bradley University, Department of Computer Science, Peoria, IL 61625 James C. Miller, 309-677-2457

Intro to Computer Graphics U AM T IBM PC clones, UNIX PCs, Ramtek 6310 Harrington, Pokorny & Gerald COLLEGES AND UNIVERSITIES Concepts and Systems page 121

DePaul University, Department of Computer Science, Chicago, IL 60604 Rosalee Nerheim, 312-341-6248 [email protected]

Computer Graphics U AM A Harris HcX9 (UNIX,C), IBM PCs (EGA, VGA, Targa), HP laser printer, Matrix film recorder Rogers, Pokorny 3D Graphics U AGM A same same

Illinois College, Computer Science and Information Systems, Jacksonville, IL 62650 Dawn Wilkins, 217-245-3415

Intro to Computer Graphics U PM A GIGI, IBM PC (VGA), Prime 2755, plotter Newman & Sproull

Illinois State University, Applied Computer Science, Normal, IL 61761 Dean Sanders, 309-438-8338 [email protected]

Intro to Computer Graphics U PM A Sun 3/60, PC’s(EGA), Kurta tablet, HP plotter Hearn & Baker Advanced Computer Graphics G PGM D same

Northwestern University, Electrical Engineering & Computer Science, Evanston, IL 60208 Mehmet Yanilmaz, 312-491-7132 [email protected]

Intro to Computer Graphics U AM B Amiga 2000s, Mac IIs, Iris 2000 Hearn & Baker Computer Graphics G GM A Iris 2000s, Sun 160 (Encore) Rogers & Adams

Southern Illinois University - Carbondale, Computer Science, Carbondale, IL 62901 Michael Wainer, 618-536-2327

CS485 U PM T IBM PCs (Turbo PASCAL & C) Hearn & Baker Advanced Topics in Computer Graphics G AGM A PS/2s, Sequent Balance 8000, Sun 386s Rogers, readings

University of Illinois at Chicago, Electronic Visualization Laboratory, Chicago, IL 60680 Tom DeFanti, 312-996-3002 [email protected]

Computer Graphics I G PM A AT&T 6300s (Targa), 80386s (Vista), Mac IIs varies Computer Graphics II G PM A same plus AT&T pixel machines, HP350SRX & 835, Iris 3130 Concepts and Systems SIGGRAPH CAREER HANDBOOK page 122

Computer Animation G PM A same plus video, CRAY access, RT/1, Alias Computer Vision I & II G PM A same Human-Computer Interaction G PM A same Projects UG all same

University of Illinois, Computer Science, Urbana, IL 61801 D. D. Hearn, 217-333-6148 [email protected]

Computer Graphics U AM A IBM RT, GKS, plotter Hearn & Baker Advanced Graphics Topics G AGM D SGI workstations readings Scientific Visualization G AGM D same readings Projects UG same

INDIANA

Ball State University, Computer Science, Muncie, IN 47306. J. Michael McGrew, 317-285-1609 iuvax!bsu-cs!mcgrew.UUCP

Introduction to Computer Graphics Systems L P A Intergraph CAD, PS/2 (50)s none Computer Graphics U PM A VAX, (11/785s, 8650, VMS & UNIX), Tek 4107 Pokorny & Gerald Projects UG same

Rose-Hulman Institute of Technology, Computer Science, Terre Haute, IN 47803 Cary Laxer, 812-877-8429 [email protected]

Computer Graphics U PM B VAX 6320 (Nova*GKS), GIGI terminals, IBM PCs & clones (CGA) Hearn & Baker

Taylor University, Information Sciences, Upland, IN 46989 Timothy C. Diller, 317-998-5163

Computer Graphics U PM B Sun 3/60s, Targa 16s, PCs (80286 &80386) Foley & Van Dam Projects U same

Tri State University, Mathematics/Computer Science, Angola, IN 46703 David L. Syler, 219-665-4244

Computer Graphics AM A Zenith 200s (VGA) Hearn & Baker COLLEGES AND UNIVERSITIES Concepts and Systems page 123

Valparaiso University, Mathematics & Computer Science, Valparaiso, IN 46383 David H. Johnson, 219-464-5349 [email protected]

Interactive Computer Graphics U PM B Data General MV8000, Tek 4105s, Sun workstations Foley & Van Dam Projects U same plus DG-MV8000, Tek, Zenith

IOWA

Clarke College, Computer Sciences, Dubuque, IA 52001 Mary L. Caffery, 319-588-6363

Computer Graphics U P B IBM PS/2s & XTs (CGA), Apple IIes & Macs, color printers, tablet, light pen Cornell College, Computer Science, Mt. Vernon, IA 52314 James Freeman, 319-895-8811

Computer Graphics U PAM B Apollos, CORE, GKS, PHIGS, GMR2D, GMR3D Hearn & Baker Projects U

Drake University, Department Mathematics/Computer Science, Des Moines, IA 50311 Ken Kopecky, 515-271-2118 KK1811R@DRAKE

Computer Graphics U PM B VAX 8600, IGL Harrington

Graceland College, Computer Science, Lamoni, IA 50140 Ron Smith, 515-784-5287

Computer Graphics U PM B HP 3000, Macs Foley & Van Dam

University of Iowa, Computer Science, Iowa City, IA 52242 Marc P. Armstrong, 319-335-0153 [email protected]

Computer Graphics U PM A Macs, Quickdraw, Imagewriter Hearn & Baker Concepts and Systems SIGGRAPH CAREER HANDBOOK page 124

KANSAS

University of Kansas, Computer Science, Lawrence, KS 66045 Victor L. Wallace, 913-864-4481 [email protected]

Intro to Computer Graphics U AM T Mac IIs, MPW Rogers & Adams, Rogers Interactive Graphics G A A Iris 3020, UNIX workstations Foley & Van Dam, reprints Geometric Modeling G GM A same plus Iris 4D/60 reprints Advanced Topics in Computer Graphics G GM A same plus VAX 11/780 reprints, SIGGRAPH notes Projects U

KENTUCKY

Western Kentucky University, Computer Science, Bowling Green, KY 42101 Kenneth Modesitt, 502-745-4642

Computer Graphics U AM B VAX, PCs Hearn & Baker

LOUISIANA

Louisiana State University at Shreveport, Computer Science, Shreveport, LA 71115 A. L. McKinney, 318-797-5311

Computer Graphics U PM T IBM & Zenith PCs (EGA & VGA)

Northeast Louisiana University, Computer Science, Monroe, LA 71203 S. Karukonda, 318-342-2186 [email protected]

not specified U PM A IBM PCs, VAXstations Berger Projects U same

MAINE

University of Maine, Computer Science, Orono, ME 04469 Ed Ferguson, 207-581-3930 [email protected]

Interactive Computer Graphics U PM A IBM RTs, plotter Foley & Van Dam Advanced Computer Graphics U PM A same same Projects U same COLLEGES AND UNIVERSITIES Concepts and Systems page 125

MARYLAND

Goucher College, Mathematics and Computer Science, Towson, MD 21204 Robert Lewand, 301-337-6239

Mathematical Elements of Computer Graphics U PAM B Zenith, Epson Rogers & Adams

MASSACHUSETTS

Harvard University, Division of Applied Sciences, Cambridge, MA 02138 Mark Friedell, 617-495-5841 [email protected]

Computer Graphics G AM A Sun workstations, Jupiter Projects UG same

University of Lowell, Computer Science, Lowell, MA 01854 Georges Grinstein, 617-452-5000 [email protected]

Computer Graphics I U AM T VAX, workstations: DEC, Sun, Apollo, DG, Stellar, Ardent, Pixar Foley & Van Dam, Rogers Computer Graphics II U AGM A same same, Graduate Computer Graphics I G AGM T same same Graduate Computer Graphics II G AGM T same Topics in Computer Graphics G AGM A same Richards Scientific Data Visualization G AGM A same Richards, Ohta, Nevatia, Schwab & Nusbaum Computer Vision G AGM A same Horne Projects UG same

University of Massachusetts, Electrical and Computer Engineering, Amherst, MA 01003 F. S. Hill, Jr., 413-545-0767 [email protected]

Interactive Computer Graphics I U PM A VAX, IBM PCs, Raster Tech, Macs Interactive Computer Graphics II U G A same same Projects UG same Concepts and Systems SIGGRAPH CAREER HANDBOOK page 126

Williams College, Computer Science, Williamstown, MA 01267 Donald House, 413-597-3052 [email protected]

Computer Graphics U AM A Sun, NGS Foley & Van Dam, Projects U same

MICHIGAN

Alma College, Mathematics & Computer Science, Alma, MI 48801 Timothy Sipka, 517-463-6730

Intro to Computer Graphics U PM B Tek 4012, VT-100(Retro-graph), Plot 10 plotter Hearn & Baker, Angell

Hope College, Computer Science, Holland, MI 49423 Gordon Stegink, 616-394-7507 [email protected]

Computer Graphics U A B IBM-PC, Suns, GKS Berger Projects U same

Michigan Technological University, Computer Science, Houghton, MI 49931 John L. Lowther, 906-487-2183 [email protected]

Computer Graphics U A T Sun3, Sun4, SunPHIGS Hearn & Baker Projects UG A T same

Northern Michigan University, Computer Science, Marquette, MI 49855 Barry Peterson, 906-227-2020

Computer Graphics U PM A mVAX IIs (graphics terminals), 9370, micros (286, 386, 68030)

University of Michigan, EECS Department, Ann Arbor, MI 48109 Spencer Thomas, 313-936-2616 [email protected]

Interactive Computer Graphics U A T Apollo network, Macs Raster Graphics U G A same Rogers Geometric Modeling G M A Mantyla, Farin Projects UG same plus Ardent, Stellar, Iris, software COLLEGES AND UNIVERSITIES Concepts and Systems page 127

Wayne State University, Computer Science, Detroit, MI 48202 Jia-Guu Leu, 313-577-1667 [email protected]

not specified U PM A IBM PCs, Sun, mVAX II (GKS) Hearn & Baker

MINNESOTA

Bemidji State University, Mathematics & Computer Science, Bemidji, MN 56601 James L. Richards, 218-755-2840

Computer Graphics U PM A Apple IIes, Mac II

St. Olaf College, Mathematics/Computer Science, Northfield, MN 55057 Arthur Seebach, 507-663-3411 [email protected]

Independent Study U PM D Suns, Amiga, NeXT, VAX Foley & Van Dam

University of Minnesota - Duluth, Computer Science, Duluth, MN 55812 Douglas Dunham, 218-726-7510 [email protected]

Computer Graphics I U PAM A Encore Multimax, Tek 4112s, Apple laserwriters Foley & Van Dam Projects U same plus Macs

MISSOURI

Northwest Missouri State University, Computer Science, Maryville, MO 64468 Richard C. Detmer, 816-562-1187

Computer Graphics U PM A 80386 workstations (VGA) Hearn & Baker

Southeast Missouri State University, Computer Science, Cape Girardeau, MO 63701 Tom Wallgren, 314-651-2208

Algorithms for Computer Graphics U AM B IBM PCs (CGA) Harrington

Southwest Missouri State University, Computer Science, Springfield, MO 65804 Bruno Schmidt, 417-836-4157 [email protected]

Computer Graphics U PM A VAX 11/750, Tek 4027s, GKS Salmon & Slater Concepts and Systems SIGGRAPH CAREER HANDBOOK page 128

University of Missouri - Columbia, Electrical & Computer Engineering, Columbia, MO 65211 Kenneth Unklesbay, 314-882-2781

Interactive Computer Graphics G VAX, Apollo, Vicom, PE3220, Lexidata, Tek 4105, digitizer Foley & Van Dam Digital Image Processing UG same Rosenfeld & Kak Computer Vision G same Ballard & Brown Projects UG same

University of Missouri - Rolla, Computer Science, Rolla, MO 65401 F. Garnett Walters, 314-341-4853 [email protected]

Interactive Computer Graphics U AM T IBM PCs, 6152 workstations (RISC coprocessors) Foley & Van Dam Computer Graphics & Realistic Modeling G GM A same research papers

Washington University, Computer Science, St. Louis, MO 63130 J. L. Posdamer, 314-889-6160 !{seismo, ihnp4}!wucs!posdamer.uucp

Computer Graphics UG PAM T VAX, IBM PC, Vectrix, GKS Newman/Sproull Computational Geometry and Geometric Modeling G AGM B same plus DeAnza Preparata & Shamos, readings Advanced Computer Graphics G G A same plus MOVIE.BYU Foley & Van Dam Projects UG same plus video, film

MONTANA

University of Montana, Computer Science, Missoula, MT 59812 Ronald Wilson, 406-243-2883

Computer Graphics U P A Macs Advanced Computer Graphics G G B DEC, Iris, Apollo workstations COLLEGES AND UNIVERSITIES Concepts and Systems page 129

NEVADA

University of Nevada - Las Vegas, Computer Science, Las Vegas, NV 89154 E. A. Yfantis, 702-739-3536

Intro to Computer Graphics L PM T 386s (VGA), SGI 4Ds, Suns Hearn & Baker Computer Graphics U PM T same same Advanced Computer Graphics G PM T same Rogers Projects UG same

NEW HAMPSHIRE

Plymouth State College, Computer Science, Plymouth, NH 03264 William J. Taffe, 603-536-5000, x2530 [email protected]

Computer Graphics U PM A PC/AT clones (VGA), Turbo PASCAL & C (GKS), Summagraphics tablet Hearn & Baker Projects U same

NEW JERSEY

St. Peter’s College, Mathematics, Jersey City, NJ 07305 Michael Fahy, 201-432-8098 FAHY_M@SPCVXA

Computer Graphics U PM B IBM PC clones (EGA) Projects same

NEW YORK

Canisius College, Computer Science, Buffalo, NY 14208 Jeffrey J. McConnell, 716-883-2434 [email protected]

Intro to Computer Graphics U PAM A Sun 3/60s Hearn & Baker Advanced Graphics Concepts U GM D same Foley & Van Dam Computational Vision U PM D same Ballard & Brown Projects U same Concepts and Systems SIGGRAPH CAREER HANDBOOK page 130

Cayuga Community College, Mathematics, Engineering, Design/Drafting, Auburn, NY 13021 Donald Fama, 315-255-1743, x273

Intro to Computer Graphics and Animation L N D IBM XTs & ATs Hearn & Baker

City University of New York, Computer Science, 33 W. 42nd St, New York, NY 10036 S. V. Ahamed, 212-642-2000

Computer Graphics, Signal & Image Processing G A B AT&T micros, IBM PC clones Foley & Van Dam, Ballard & Brown Projects G

College of Staten Island, Computer Science, Staten Island, New York, NY 10301 S. V. Ahamed, 718-390-7627

Computer Graphics U P IBM Graphics lab Foley & Van Dam Computer Graphics & Image Processing G A B same same

Columbia University, Computer Science, New York, NY 10027 Steven Feiner, 212-280-8105 [email protected]

Computer Graphics UG PAM A HP 9000, Sun 4, VAX Foley & Van Dam, Feiner, Hughes User Interface Design G A D same same Projects UG same plus Symbolics, IBM, HP SRX, Matrix QCR

C. W. Post College of Long Island University, Computer Science, Greenvale, NY 11548 Anne Burns, 516-299-2448

Computer Graphics L PM A IBM PC & PS/2 Hearn & Baker Special Topics G AM same Hearn & Baker Projects G same

Hofstra University, Computer Science, Hempstead, NY 11550 Dr. Bakalash, 516-560-5542

Computer Graphics G AM A AT&T (Targa), Macs, IBM PCs Foley & Van Dam Projects G same COLLEGES AND UNIVERSITIES Concepts and Systems page 131

Iona College, CIS Department, New Rochelle, NY 10801 Edward Duggan, 914-633-2241

Computer Graphics U AM A IBM ATs & PS/2 30s Hearn & Baker Mathematics of Computer Graphics G AM A same course notes Computer Graphics G AM A same course notes Projects UG same plus Suns, Macs

Ithaca College, Mathematics/Computer Science, Ithaca, NY 14850 Patricia Woodworth, 607-274-3107 [email protected]

Computer Graphics U PM B IBM PCs (EGA) Hearn & Baker Projects U same

Le Moyne College, Computer Science, Syracuse, NY 13214 Thomas S. Frank, 315-445-4162 [email protected]

Computer Graphics U PAM A PS2/50s (VGA) Hearn & Baker, Rankin

Marist College, Computer Science & Mathematics, Poughkeepsie, NY 12601 William J. Joel, 914-471-3240, x614/610 [email protected]

Computer Graphics U AM A IBM Ps/2 80s Hearn & Baker Adv Topics in Comp Sci: Computer Animation U PAMG B same reprints Computer Graphics I G PM A same Foley & Van Dam Computer Graphics II G G B same

Adv Topics in Computer Science: Fractals U PAM B IBM 3090, VSAPL (GDDM) Mandelbrot Adv Topics in Mathematics: Chaotic Dynamical Systems U PM D IBM PS/2 80s Barnsley Projects U all same Concepts and Systems SIGGRAPH CAREER HANDBOOK page 132

Mohawk Valley Community College, Computer Science, Utica, NY 13501 Robert Dell, 315-792-5372

Computer Graphics I L AM A VAX 11/750, Tek 4105, 4107, 4111, 4125, GKS, IGL, MOVIE.BYU Hearn & Baker Computer Graphics II L GM A same same Projects same

Niagara University, Computer & Information Sciences, Niagara University, NY 14109 R. A. Hubbard II, 716-285-1212, x368

Computer Graphics I L N B PCs Myers

Rensselaer Polytechnic Institute, Engineering Computing Services, Troy, NY 12180 Adelaide Lane, 518-276-8041 [email protected]

Fundamentals of Computer Graphics L PM T IBM PCs & clones, 3090, mVAX 2000s & IIs (GPX) Internal Imaging U PM A IBM PCs & clones, 3081, PIXEL software Advanced Internal Imaging G GM A same plus mVAX 2000s & IIs (GPX) Human and Machine Vision G Sun 3/160s

Rochester Institute of Technology, Computer Science, Rochester, NY 14623 Evelyn Rozanski, 716-475-2995 [email protected]

Intro to Computer Graphics U A T Sun3/60s, PHIGS, GKS Harrington Computer Graphics Laboratory U G B same Hearn & Baker Topics in Computer Graphics G G A same Fundamentals of Computer Graphics G A A AT&T 3B1 6386

Siena College, Computer Science, Loudonville, NY 12211 Edward M. Crosson, 518-783-2495

Computer Graphics U PM A VAXstation 3100s & 3250s, PHIGS Hearn & Baker

St. Bonaventure University, Computer Science, St. Bonaventure, NY 14778 Dalton R. Hunkins, 716-375-2019

Interactive Computer Graphics U PM A 80286s (VGA), Turbo PASCAL (GKS) Pokorny & Gerald COLLEGES AND UNIVERSITIES Concepts and Systems page 133

SUNY New Paltz, Mathematics/Computer Science, New Paltz, NY 12561 Richard Halpern, 914-257-3528

not specified G PM A Zenith 286s (FTM or EGA) Rogers Projects G same

SUNY Potsdam, CIS, Potsdam, NY 13676 Charles Durand, 315-267-2216

Computer Graphics U PM A Gould PN6005, 286, 386, 68020 computers, Tek 4107

SUNY Stony Brook, Computer Science, Stony Brook, NY 11794 Arie Kaufman, 516-632-8441 [email protected]

Fundamentals of Computer Graphics U PM T Sun, SGI, HP, PHIGS Foley & Van Dam Computer Graphics G PAM A same same 3D Graphics U PGM A same Special Topics in Computer Graphics G PAMG A same readings Image Analysis G AM A same Computer Vision U PM A same Seminar in Computer Graphics G AGM T same Seminar in Image Analysis G AGM T same User Interfaces G A A same Projects UG same

NORTH CAROLINA

Appalachian State University, Mathematical Sciences, Boone, NC 28608 Kenneth H. Jacker, 704-262-2368 ...mcnc!ecsvax!khj

Computer Graphics U PAM B 3B2 (630-MTG) workstations Harrington

University of N Carolina at Chapel Hill, Computer Science, Chapel Hill, NC 27514 Henry Fuchs, 919-962-1911 [email protected]

Computer Graphics G AM A Pixar, PS300, VG, Adage, Pixel Plane Raster Graphics G AG A same Picture Processing & Pattern Recognition G PM A same Computer Vision G PGM B same Virtual Worlds G GM B same Projects G same Concepts and Systems SIGGRAPH CAREER HANDBOOK page 134

University of North Carolina at Greensboro, Mathematics, Greensboro, NC 27412 S. M. Lea, 919-334-5836 [email protected]

Intro to Computer Graphics & Image Processing U AM A VAX, GIGI, Macintosh, PC’s Hearn & Baker, Castleman Projects same

University of North Carolina - Wilmington, Mathematics Sciences, Wilmington, NC 28403 Harry Smith, 919-395-3819 [email protected]

Computer Graphics U PM A IBM PCs & clones (EGA), EasyCAD Hearn & Baker

NORTH DAKOTA

North Dakota State University, Computer Science, Fargo, ND 58105 Mark Pavicic, 701-237-7493

Computer Graphics U PM A IBM PC clones (CGA & VGA), HP9000/320 Hearn & Baker Advanced Computer Graphics U GM B same

OHIO

Bowling Green State University, Computer Science, Bowling Green, OH 43403 R. Townsend, 419-372-2018

Computer Graphics U P A Mac & Turbo PASCAL Hearn & Baker

Oberlin College, Computer Science, Oberlin, OH 44074 Robert Geitz, 216-775-8083 [email protected]

Computer Graphics U PM B Sun 3/60s (4/260 server with GP2), PHIGS Foley & Van Dam Projects same

Ohio State University, Computer & Information Science, Columbus, OH 43210 Richard Parent, 614-292-0055 [email protected]

Intro to Computer Graphics UG PM T Sun 3/50s Berger Introduction to 3D Image Generation U G B HP330 frame buffer Rogers COLLEGES AND UNIVERSITIES Concepts and Systems page 135

Advanced 3D Image Generation U G A HP370s IEEE tutorial Geometric Modeling U G A all same, Alpha-1 Mortenson Projects same plus Cray, Transputer, Hypercube, Butterfly, Encore

Otterbein College, Mathematical Sciences, Westerville, OH 43081 Thomas James, 614-898-1724

Computer Graphics U PM B PCs, course notes software Foley & Van Dam

OKLAHOMA

University of Tulsa, Mathematical & Computer Sciences, Tulsa, OK 74104 Schoenefeld, 918-631-2228 [email protected]

Computer Graphics U A A Sun 3/60s, IBM PC/XT clones (EGA) Hearn & Baker Advanced Computer Graphics G G B Suns, mVAX (Adage 3000) Rogers & Earnshaw, readings

OREGON

Clackamas Community College, Computer Science, Oregon City, OR 97045 Mike Aronson, 503-657-8400, x215 uucp: tektronix!psu-cs!ccccs!mikea

Intro to Computer Graphics L P B IBM PC clones (Hercules) Harrington

Lewis & Clark College, Computer Science, Portland, OR 97219 D. E. Cummins, 503-293-2738

Computer Graphics U A B VAX 750, Macs, GKS Harrington

Oregon Institute of Technology, Computer Engineering, Klamath Falls, OR 97601 Donald I. Metzler, 503-882-6321

Computer Graphics U PAM A PC clones, ATs, 386s (EGA, PGA), plotters tablets Harrington Advanced Computer Graphics U PAM A same same Concepts and Systems SIGGRAPH CAREER HANDBOOK page 136

University of Oregon, Computer & Information Science, Eugene, OR 97403 Gary Meyer, 503-686-4408 [email protected]

Computer Graphics U PAM A Sun SPARC stations Hearn & Baker, Foley & Van Dam Advanced Computer Graphics G PAMG A same plus Tek 4325 Rogers Projects UG Iris 3030

PENNSYLVANIA

Albright College, Computer Science, Reading, PA 15234 Daniel Falabella, 215-921-2381

Graphics U P A IBM PCs and clones Harrington

Bucknell University, Computer Science, Lewisburg, PA 17837 Patricia Wenner, 717-524-1266 [email protected]

Computer Graphics U P A Apollo 3000-4500 (GMR2D, GMR3D), Macs, plotters, printers Hearn & Baker Projects U same plus Sun 3/60, Iris, PHIGS

Drexel University, Mathematics & Computer Science, Philadelphia, PA 19104 Jeffrey Popyack, 215-895-1846 [email protected]

Computer Graphics I & II G AM A Prime 2655 (movie.BYU), Megatek, Ramtek, Mac IIs Foley & Van Dam Projects G same

Gettysburg College, Mathematics & Computer Science, Gettysburg, PA 17325 L. Carl Leinbach, 717-337-6735 [email protected]

Intro to Interactive Computer Graphics Systems U AM A MS/DOS computers Foley & Van Dam

Indiana University of Pennsylvania, Computer Science, Indiana, PA 15705 John A. Cross JACROSS@IUP, BITNET

Computer Graphics U PM A mVAX (GKS), AT&T 3B2s, 386 micros (VGA) Hearn & Baker Modern Computing Environments U PM A same Projects U same plus Mac IIs COLLEGES AND UNIVERSITIES Concepts and Systems page 137

King’s College, Mathematics & Computer Science, Wilkes-Barre, PA 18711 Anthony D. Berard, Jr, 717-826-5900, x496

Computer Graphics U PAM A Mindset, Zenith, Targa 16, AutoCAD, PageMaker Newman & Sproull

Kutztown University, Mathematics/Computer Science, Kutztown, PA 19530 Thomas Pirnot, 215-683-4424

Intro to Computer Graphics U AM A Unisys-A9, Tektronix 4112/4115 Hearn & Baker Seminar in Computer Graphics U GM B same Rogers Computer Graphics I G AM D same Foley & Van Dam Computer Graphics II G G D same IEEE tutorials

La Salle University, Computer Science, Philadelphia, PA 19141 Samuel J. Wiley, 215-951-1130

Computer Graphics U PM B HP9000-835SEs Berger Projects same

Penn State University - Harrisburg, Mathematics & Computer Science, Middletown, PA 17057 Clifford H. Wagner, 717-948-6084 [email protected]

Computer Graphics Algorithms U PM A Macintosh, IBM PC course notes

Swarthmore College, Engineering, Swarthmore, PA 19081 Stephen Platt, 215-328-8081 [email protected]

Computer Graphics U AM B Apollo network & packages Foley & Van Dam, Rogers Projects U same

University of Pennsylvania, Computer & Information Science, Philadelphia, PA 19104 Norman I. Badler, 215-898-5862 [email protected]

Computer Graphics UG P A Iris 4Ds Foley & Van Dam, Rogers Seminar in Computer Graphics G G A same readings Projects UG same plus HP 3xx stations Concepts and Systems SIGGRAPH CAREER HANDBOOK page 138

University of Pittsburgh, Computer Science, Pittsburgh, PA 15260 Sig Treu, 412-624-8418 [email protected]

Intro to Computer Graphics U PM T various PCs Hearn & Baker Interactive Computer Graphics G AM A Sun 3s Foley & Van Dam

University of Pittsburgh - Johnstown, Computer Science, Johnstown, PA 15904 Hubert D. Callahan, 814-266-9661 [email protected]

Interactive Computer Graphics U AM B AT&T PC 6300/7300, VAX, GKS, Plot 10 Hearn & Baker Projects U same, Macintosh, AT&T DMD 5620, 7300, IBM PCs

SOUTH CAROLINA

University of South Carolina - Lancaster, Computer Science, Lancaster, SC 29720 Noni Bolt, 803-285-7471 [email protected]

CSCI 101 & 102 L M T Apple 2es, IBM PS/2s

Winthrop College, Computer Science, Rock Hill, SC 29733 Jack E. Bresenham, 803-323-2186 [email protected]

Intro to Computer Graphics U AM A Leading Edge PC clones Hearn & Baker, Foley & Van Dam

TENNESSEE

Middle Tennessee State University, Computer Science, Murfreesboro, TN 37132 Judy Hankins, 615-898-2392

Microcomputer Graphics L N T IBM PS/2s, plotters, tablets, scanner, Logitech software Computer Graphics UG AM A VAXstation 3100s, inkjet, plotter Foley & Van Dam Advanced Computer Graphics G G B same same Projects UG same

Rhodes College, Mathematics & Computer Science, Memphis, TN 38112 Bill Boyd, 901-726-3725 [email protected]

Computer Graphics U PM B Mac SEs, Lightspeed PASCAL Hearn & Baker COLLEGES AND UNIVERSITIES Concepts and Systems page 139

University of Tennessee - Chattanooga, Computer Science, Chattanooga, TN 37403 Stephanie Smullen, 615-755-4395 [email protected]

Computer Graphics Applications and Algorithms U A A IBM, Tek, GKS, tablet Hearn & Baker, manuals Projects G same

University of Tennessee - Knoxville, Computer Science, Knoxville, TN 37996 Hedley Bond, 615-974-5067 [email protected]

Interactive Computer Graphics UG PA A VAX (Tek-GKS), IBM 5080s, Suns Hearn & Baker Projects UG same

TEXAS

Baylor University, Computer Science, Waco, TX 76798 Mark Measures, 817-755-3871 [email protected]

Computer Graphics U AM A Mac IIs, AT&T 3B2/700s (GKS) Hearn & Baker

Sam Houston State University, Computer Science, Huntsville, TX 77341

Computer Graphics U AM B VAX \11/785 (VT241), IBM PCs

Southwest Texas State University, Computer Science, San Marcos, TX 78666 Wilbon Davis, 512-245-3443 [email protected]

Computer Graphics U PM T VAX 8650s (VT340s), laser printers Rogers Advanced Computer Graphics G AM A same Foley & Van Dam

UTAH

Brigham Young University, Computer Science, Provo, UT 84602 R. P. Burton, 801-378-6467

Computer Graphics U PM T extensive equipment Hearn & Baker Advanced Computer Graphics U GM A same Projects UG same Concepts and Systems SIGGRAPH CAREER HANDBOOK page 140

Southern Utah State College, Computer Science, Cedar City, UT 84720 Peter P. Smith, 801-586-7903

Computer Graphics U PM A VAX 11/780, Chromatics 7900, Mac IIs, 80286 computers

Utah State University, Computer Science, Logan, UT 84322 Larre N. Egbert, 801-750-3280 [email protected]

Intro to Computer Graphics UG PM A HP 350 SRX, Mac IIs Hearn & Baker, Pokorny & Gerald Computer Graphics UG PMG A same same Advanced Computer Graphics G PMG A same readings Projects UG same plus Ardent

Weber State, Computer Science, Ogden, UT 84408 David G. Hart, 801-626-7929

Computer Graphics U PM A VAX 8700 (VT340s), DI3000 Hearn & Baker

VIRGINIA

College of William & Mary, Computer Science, Williamsburg, VA 23185 Richard H. Prosl, 804-253-4748 [email protected]

Computer Graphics U PGM B PC/AT clones (CGA, EGA), Turbo PASCAL Hearn & Baker

Hollins College, Mathematics, Roanoke, VA 24020 Caren Diefenderfer, 703-362-6595

The Mathematical Elements of Computer Graphics U PM B IBM PCs Park Projects U same

Randolph-Macon College, Computer Science, Ashland, VA 23005 Ben Burrell, 804-752-7209

Computer Graphics U PM A 286 computers (VGA), Turbo PASCAL Berger, Foley & Van Dam COLLEGES AND UNIVERSITIES Concepts and Systems page 141

University of Richmond, Mathematics & Computer Science, Richmond, VA 23173 Gary R. Greenfield, 804-289-8093 grg@urvax

Independent Study: Computer Graphics U PM D various Foley & Van Dam

University of Virginia, Computer Science, Charlottesville, VA 22901 Worthy Martin, 804-924-7605

Computer Graphics G AM A Hearn & Baker

Virginia Polytechnic Institute & State University, Computer Science, Blacksburg, VA 24061 Cliff Shaffer, 703-231-6931 [email protected]

Computer Graphics U PM T Mac IIs Hearn & Baker, Foley & Van Dam Projects UG same plus Sequent Symmetry, Hypercube, Vaxs

WASHINGTON

Eastern Washington University, Computer Science, Cheney, WA 99004 William Clark, 509-359-6260 uunet!iscuva!ewu!clark

Computer Graphics (CAD) U N B Sun 386s, AutoCAD Computer Graphics Programming U PM A Sun 386s, SunView Hearn & Baker Advanced Computer Graphics G AGM A same plus Xview Harrison Projects UG same plus Framemaker

Pacific Lutheran University, Computer Science, Tacoma, WA 98447 Larry Edison, 206-535-7400

Computer Graphics U PM B VAX8600s, Suns (Sun-CORE), IBM PCs Pokorny & Gerald Projects G same

University of Puget Sound, Mathematics & Computer Science, Tacoma, WA 98416 Carol M. Smith, 206-756-3563 [email protected]

Computer Graphics U Apollos (Domain GPR-NGS) Tek 4692 Hearn & Baker Concepts and Systems SIGGRAPH CAREER HANDBOOK page 142

Western Washington University, Computer Science, Bellingham, WA 98225 Gary L. Eerkes, 206-676-3807 [email protected]

Intro to Computer Graphics U AM A VAX 8650 (AED 1024), DI3000 Hearn & Baker Projects U same

WEST VIRGINIA

West Virginia University, Statistics & Computer Science, Morgantown, WV 26506 Alan Butcher, 304-293-3607 [email protected]

Computer Graphics U P A Mac SEs & IIs Hearn & Baker Interactive Computer Graphics G A A same Rogers, Rogers & Adams Projects G SGI 4D/20 & 40/240, Sun 4s

Wheeling Jesuit College, Mathematics/Computer Science, Wheeling, WV 26003 Margaret Geroch, 304-243-2340 OS360012@WVNUM

Computer Graphics U PM B Apple IIe, IBM PC clone, AT&T 6-386 Hearn & Baker

WISCONSIN

University of Wisconsin - Oshkosh, Computer Science, Oshkosh, WI 54901 Andrew L. Perrie, 414-424-1182/2068 [email protected]

Computer Graphics U PAM A VAX 11/780, mVAX II, GIGI, MODGRAPH, NDS, CORE Pokorny & Gerald Projects U same

University of Wisconsin - Parkside, Applied Computer Science, Kenosha, WI 53141 Morris W. Firebaugh, 414-553-2128 [email protected]

Computer Graphics U PM A Macintosh, PCs Hearn & Baker Projects U same

University of Wisconsin - Stevens Point, Computer Information Systems, Stevens Point, WI 54481 Keith Rice, 715-346-4454

Computer Graphics U PM A MicroVAX, AT&T 63xx, IBM PS/2, Tek, plotter, PHIGS Hearn & Baker Projects U same COLLEGES AND UNIVERSITIES Concepts and Systems page 143

CANADA

ALBERTA

University of Alberta, Computing Science, Edmonton, Alta T6G 2H1 Mark Green, 403-432-4584 [email protected]

Intro to Computer Graphics U A T Sun3/50s Hearn & Baker, Green Computer Graphics G G A same plus Sun, 3/60C Iris Foley & Van Dam, Joy et al. Computer Animation G G B same User Interface Design G G D same Curves & Surfaces in Computer Graphics G GM D same Mortenson

University of Calgary, Computer Science, Calgary, Alta T2N 1N4 Brian Wyvill, 403-220-6015 [email protected]

Computer Graphics I U PAM A Sun, Iris, Matrix camera, video Computer Graphics II U PAGM A same Computer Graphics G G A same Projects UG same

University of Calgary, Continuing Education, Calgary, Alta T2N 1N4 M. Smith, 403-220-6142 [email protected]

not specified L P T students' PC

BRITISH COLUMBIA

Simon Fraser University, Computing Science, Burnaby, BC V5A 1S6 Tom Calvert, 604-291-4152 [email protected]

Interactive Graphics & Animation U G A Mac SEs, Sun3/50s, Iris2400s Projects UG same plus Apollo, Symbolics

University of British Columbia, Computer Science, Electrical Engineering, Vancouver, BC V6T 1W5 G. F. Schrack, 604-228-2326 [email protected]

Computer Graphics U PM A Mainframe, terminals, GKS Hearn & Baker Advanced Computer Graphics G PMAG A same plus Sun, Iris Mortenson Projects UG same Concepts and Systems SIGGRAPH CAREER HANDBOOK page 144

University of Victoria, Computer Science, Victoria, BC V8W 2Y2 H. A. Muller, 604-721-7630 [email protected]

Computer Graphics U PM A Sun3/50s & 60s, SunCORE, SunView Berger

NEW BRUNSWICK

University of New Brunswick, Computer Science, Fredericton, NB E3B 5A3 Uday G. Gujar, 506-453-4566 [email protected]

Computer Graphics U A A IBM, IBM3279, Iris Foley & Van Dam Computer Graphics G A A same same Advanced Computer Graphics G AGM A same readings Human-Computer Interaction U AM A Iris Spatial Data Structures G GM A various CRTs Projects UG same, PC’s

NEWFOUNDLAND

Memorial University of Newfoundland, Computer Science, St. Johns, Newfoundland A1C 5S7 R. James Dawe, 709-737-8627 [email protected]

Computer Graphics U PAM A VAXs, Suns, Vectrix, Ataris, AED767, HP Foley & Van Dam Applications of Computer Graphics G G D same readings Projects UG same

NOVA SCOTIA

Acadia University, Computer Science, Wolfville, N.S. B0P 1X0 F. R. Giles, 902-542-2201 [email protected]

not specified U PM A IBM ATs, Sun3/60s Harrington COLLEGES AND UNIVERSITIES Concepts and Systems page 145

ONTARIO

Brock University, Computer Science, St. Catharines, Ont L2S 3A1 Paul A. V. Thomas, 416-688-5550, x3514 [email protected]

Interactive Computer Graphics U A A Sun3s Thomas Topics: Advanced Computer Graphics U G D same readings Projects U same, Macintosh

University of Ottawa, Computer Science, Ottawa, Ont K1N 6N5 Laurent Ruhlmann, 613-564-5427 [email protected]

Computer Graphics U AM A Sun net (Figaro), Apollo net (AEGIS) Newman & Sproull Graphique Interactif U AM A same same

University of Waterloo, Computer Science, Waterloo, Ont N2L 3G1 Adele Newton, 519-886-1351 [email protected]

Intro to Computer Graphics U PMA T Iris stations Foley & Van Dam Projects G DEC stations, special purpose stations

University of Western Ontario, Computer Science, London, Ont N6A 5B7 I. Gargantini, 519-661-3653 [email protected]

Computer Graphics U M T Sun3/60s, GKS, PHIGS Hearn & Baker Advanced Computer Graphics U G A same Foley & Van Dam Image Analysis and Graphics Applications G A A Masscomp 500, Barco 5151 course notes Projects U same

QUEBEC

Universityersite du Quebec a Hull, Computer Science, Hull, Que J8X 3X7 M. B. Zaremba, 819-595-2376 ZAREMBA@UQHULL”

Infographie (Computer Graphics) U PM A VAX, Mac II, IBM PC/RT, MOVIE.BYU, GKS Hearn & Baker, Schweizer Projects U same Concepts and Systems SIGGRAPH CAREER HANDBOOK page 146

SASKATCHEWAN

University of Saskatchewan, Computational Science, Saskatoon, Sask. S7N 0W0 Herbert Yang, 306-966-4891 YANG@SASK

Computer Graphics U PM A Sun3, HP stations (color) Hearn & Baker

OTHER

AUSTRALIA

Adelaide University, Computer Science, Adelaide Marc Berger, 08-228-5833 [email protected]

Computer Graphics U PM A Mac II Berger

University of Sydney, Computer Science, NSW 2006 D. Herbison-Evans, 61-2-692-3423 [email protected]

Computer Graphics G AM A Macs, Sun3/50, Bolex animation, IBM RTs

AUSTRIA

Technical University Vienna, Practical Informatics, 1040 Wein Werner Purgathofer, 43-1-58801-4548 [email protected]

Computer Graphics U MP A Programming Methods for Computer Graphics G MGP A DEC PC380 Mathematical Elements for Computer Graphics G MGP A PC Computer Graphics Hardware G G A various Realism in Computer Graphics G MGP A same readings Projects G G T VAX, Mac II, PC readings COLLEGES AND UNIVERSITIES Concepts and Systems page 147

CZECHOSLOVAKIA

Institute of Technology, Computer Science, 306 14 Plzen, Czechoslovakia Vaclav Skala, 019-33650; 36881-5, x318

Computer Graphics G PM A IBM PC clones, PDP-11s, GKS Foley & Van Dam, Rogers Computer Graphics & CAD Systems P AM D same same

FEDERAL REPUBLIC of GERMANY

Technical University of Darmstadt, Computer Science, 6100 Darmstadt not specified, 49-6151-1000-30 [email protected]

Fundamentals of Computer Graphics G AM A Suns, Apollos Encarnacao & Strasser Projects UG same

University of Bremen, Informatics, D-2800 Bremen 33 Frieder Nake, 0421-218-3525 [email protected]

Intro to Computer Graphics G PMA B Ataris, Macs, Sun3/50, 60, & 160 Foley& Van Dam Pavlidis Newman & Sproull Interactive Systems & Software Ergonomics G P B same plus IBM clones readings Adv Topics in Graphic Data Processing G GM B same Projects G same plus Macintosh, Atari

JAPAN

Keio University, Science & Technology, 14-1, Hiyoshi, Kohoku-ku, Yokohama 223 Yoshio Ohno, 044-63-1141 [email protected]

Computer Graphics U P A NEC Computer Graphics G P A same Concepts and Systems SIGGRAPH CAREER HANDBOOK page 148

NETHERLANDS

Eindhoven University of Technology, Mathematics & Computing Science, 5600 MB, Eindhoven C. van Overveld, 40-4474416 [email protected]

Intro to Computer Graphics UG PMA A PCs course notes Projects UG same plus Sun3/60s

TU Delft, Mathematics & Informatics, 2628 BL Delft Frits H. Post, 31-15-782528 hp4nl.uucp!duticg!frits

Intro to Computer Graphics & CAD/CAM L P A Apollo 3000s, Pafec CAD/CAM Hawkes Computer Graphics I U P A Olivetti PE24s, AED512, GKS Hearn & Baker Computer Graphics II U G A same plus Mac SEs Projects G same plus E&S PS330, Convex C-220

University of Amsterdam, Computer Science, Kruislaan 409, 1098 SJ Amsterdam E. H. Dooijes, 031-205922041 usenet...!mcvax!uva!edoh

Computer Graphics U AM A IBM PS2/50s, frame grabber Projects UG VAX, IBM, IBM PC, Tektronix

NORWAY

University of Trondheim, Computer Science, N-7034 Trondheim Torbjorn Hallgren, 47-7-5936-79 [email protected]

Computer Graphics I U AM A PCs, Suns, Macs, GKS, PHIGS, SunView Hearn & Baker Computer Graphics II G GM A same plus CRAY Thalmann Projects G same plus cameras, frame grabbers

PEOPLE’S REPUBLIC OF CHINA

Hangzhou University, Computer Science, Hangzhou, Zhejiang Zhu Tu-cheng

Computer Graphics & Applications L P A IBM PCs, PS2/50&80, GW0520CH Foley & Van Dam COLLEGES AND UNIVERSITIES Concepts and Systems page 149

Tsinghua University, Computer Science & Technology, Beijing, 100084 Zesheng Tang, 2561144-2953

Fundamentals of Computer Graphics U PM A Gould 32/2750, Tek, Plot 10 Foley & Van Dam Computer Graphics & Geometric Modeling HP9000/320C, Apollo3000 Mortenson

PORTUGAL

University of Coimbra, Mathematics, 3000 Coimbra, Portugal Jose Teixeira, 351-39-28097/8/9 [email protected]

Mathematics-Computer Graphics U PM T IBM PC-AT, Suns, VAX, Apollo Foley&Van Dam

SWITZERLAND

Swiss Federal Institute of Technology, Computer Graphics Lab, CH-1015 Lausanne D. Thalmann, 41-21-693-5214 [email protected]

Computer Graphics G A A Iris 4Ds, CRAY-2 Projects UG same

UNITED KINGDOM

Brunel University, Computer Science, Uxbridge UB8 3PH M. L. V. Pitteway, 44-895-74000, x2233 [email protected] (JANET)

Computer Graphics & Image Processing I U PM A IBM PC, LaserWriter Hearn/Baker, Barrett & Mackay Computer Graphics & Image Processing II U GM A same plus Suns, cameras, etc same Master Class G AM A same Hearn & Baker Projects UG same

Heriot-Watt University, Computer Science, Edinburgh EH1 2HJ, Scotland Alistair Kilgour, 31-225-6465 [email protected]

Computer Graphics U PM A Sun 3s Foley & Van Dam Concepts and Systems SIGGRAPH CAREER HANDBOOK page 150

Middlesex Polytechnic, Mathematics, Bounds Green Rd, London N11 2NQ Huw Jones, 01-368-1299, x7474 [email protected] (JANET)

MSc in Computer Graphics G VAX, IBM, Tek, Tandon, Dunn, IKON, GEMS, etc MSc Applied Computing Tech G same MA Communications in Computing G same Projects G same

Queen Mary College (University of London), Computer Science, London E1 4NS Mel Slater, 44-1-975-5242 [email protected]

Interactive Computer Graphics U AM A UNIX stations, Mac IIs Hearn & Baker CAD & Advanced Graphics G AM A same Foley & Van Dam Salmon & Slater Projects UG same

University of Dundee, Mathematics & Computer Science, Dundee DD1 4HN, Scotland Keith Unsworth, 0382-23181, x4485 [email protected]

Computer Graphics U AM A Sun3/50s &60s, mVAX II/GPX, micros, GKS Harrington, Foley & Van Dam Projects G same

University of East Anglia, Information Systems, Norwich, Norfolk NR4 7TJ A. Robin Forrest, 44-603-505217 [email protected]

Computer Graphics I/II U AM A Mac Plus & IIs, Suns, VAX, GKS Foley & Van Dam Newman & Sproull, Rogers Projects UG same

University of Glasgow, Computing Science, Glasgow, Scotland G12 8QQ John Patterson, 44-61-339-8855, x6036 [email protected]

Higher Ordinary: Graphics U P A Macs Junior Honors: Graphics U PGM Macs, Suns Senior Honors: Graphics U AGM A Master in Information Tech G P A Macs Projects U Macs, Suns COLLEGES AND UNIVERSITIES Concepts and Systems page 151

University of Manchester, Computer Science, Oxford Rd, Manchester MI3 9PL Roger Hubbold, 061-275-6158 [email protected]

Graphics & Databases L P A Suns, GKS, PHIGS Hearn & Baker Graphical User Interfaces L G A same Advanced Image Synthesis U GM A same Intro to Computer Graphics G P A same Advanced Computer Graphics G G A same plus Meiko transputer, VAX station Engineering, CAD/CAM and Drafting SIGGRAPH CAREER HANDBOOK page 152

Computer Graphics in Engineering, CAD/CAM and Drafting

ARIZONA

University of Arizona, Aerospace & Mechanical Engineering, Tuscon, AZ 85721 H. A. Kamel, 602-621-2086

Engineering Program Design & Implementation U PM A PC net, Mac IIs, MV 10000 Hearn & Baker, Bell, Morrey, & Pugh Computer Aided Geometric Design G G A same Mortenson Projects UG same

ARKANSAS

University of Arkansas at Little Rock, Engineering Technology, Little Rock, AR 72204 Michael Stewart, 501-569-3148

Intro to CAD L M T 286 & 386s (EGA), CAD software, tablet Fuller (1) Advanced CAD U G T same Fuller(2) CAD/CAM U MG same manuals Projects U same plus hires color monitor

CALIFORNIA

California Institute of Technology, Mechanical Engineering, Pasadena, CA 91125 Erik Antonsson [email protected]

Computer Aided Engineering Design G PM VAX 3X00s, PS300, Suns Foley & Van Dam Projects UG same

Foothill College, CIS, Los Altos Hills, CA 94022 Michael Loceff, 415-960-4384

Intro to Computer Aided Drafting U IBM systems, AutoCAD Intro to CADAM U same, CADAM Computer Aided Mechanical Drafting U same COLLEGES AND UNIVERSITIES Engineering, CAD/CAM and Drafting page 153

COLORADO

University of Colorado - Boulder, Civil Engineering, Boulder, CO 80309 Victor Saouma, 303-492-1622 [email protected]

not specified U Apollo & PS2s course notes Projects UG same

FLORIDA

University of Central Florida, Computer Engineering, Orlando, FL 32816 C. S. Baur, 407-275-2236

Eng. Applications of Computer Graphics G PM A PCs (graphics boards), Chromatics, Ramtek Dewey Projects UG same

University of Florida, Electrical Engineering, Gainesville, FL 32611 John Staudhammer, 904-392-4310 jstaudh.uf.edu

Computer Graphics UG AM A IBM 4341(CAD system), VAX 11/780, Silicon Graphics 4D/60 Projects UG same

University of South Florida, Computer Science & Engineering, Tampa, FL 33620 A. Tokuta, 813-974-4196 [email protected]

Geometric Modeling for CAD/CAM & Graphics G MP T Suns, VAX 8350, PS/2, Ardent Titan Pigel

GEORGIA

Dalton College, Vocational - Technical Design, Dalton, GA 30720 Michael Jordan, 404-272-4550

Introduction to Computer Aided Design L N T 386s, tablet, plotter, Lumena, AutoCAD manuals, readings Intermediate Computer Aided Design L G T same Advanced Computer Aided Design L G D same Engineering, CAD/CAM and Drafting SIGGRAPH CAREER HANDBOOK page 154

Georgia Institute of Technology, Industrial & Systems Engineering, Atlanta, GA 30332 T. Govindaraj, 404-896-3873 [email protected]

Effective Use of Interactive Graphics G PM A Mac IIs, NeXT, Sun, HP Baecker & Buxton, Apple

INDIANA

Indiana Institute of Technology, Engineering, Ft. Wayne, IN 46803 Gary Messick, 219-422-5561

Introduction to CAD L T mVAX II, Teks, Geniscos, Intercolor Anvil5000 course notes Projects U same

Purdue University, Mechanical Engineering, West Lafayette, IN 47907 Dave Anderson, 317-494-5944 [email protected]

Interactive Computer Graphics UG PM T Suns, Iris course notes Advanced Computer Graphics UG G T same course notes Projects UG same

Vincennes University, Drafting, Vincennes, IN 47591 Ed Lee, 812-885-5466

Computer Aided Drafting, 2D & 3D L N A IBM ATs, Computervision Computer Aided Drafting, Architectural L G A same Computer Aided Drafting, Industrial L G A same Advanced CADD I, II: Architectural Applications L GL A Computervision, CADDS Advanced CADD / Geometrics L G A same Advanced CADD / Industrial L G A same Intro to Computer Graphics L N T IBM PC, Computervision CAD System Management L N A same

IOWA

Iowa State University, Freshman Engineering, Ames, IA 50011 Rollie Jenison, 515-294-1614

Geometric Modeling for Engineering Design L PM T VAXs, Apollos, movie.BYU Dewey COLLEGES AND UNIVERSITIES Engineering, CAD/CAM and Drafting page 155

University of Iowa, Civil & Mechanical Engineering, Iowa City, IA 52242 M. Asghar Bhatti, 319-335-5656

not specified U PM A Apollos, GMR-3D, GPR Harrington Projects UG same plus Macs

KENTUCKY

Eastern Kentucky University, Industrial Technology, Richmond, KY 40475 Clyde Craft, 606-622-3232

Computer Graphics U P A VAX11/785, Tek, Figaro Brown & Heck

Western Kentucky University, Industrial Technology, Bowling Green, KY 42101 Kenneth Missnir, 512-745-5945

Computer Aided Drafting L T Zeniths, CalComp

MARYLAND

Johns Hopkins University, APL - Whiting School of Engineering, Baltimore, MD David Rogers, 301-267-3283 dfr@usna, navy.mil

Mathematical Elements for Computer Graphics G P A 386s (Vectrix) Rogers & Adams Procedural Elements for Applied Computer Graphics G G A same Rogers

United States Naval Academy, Aerospace Engineering, Annapolis, MD 21402 David F. Rogers, 301-267-3283 [email protected]

Computer Aided Design in Engineering U PM A VAX, Iris, Sun, E&S PS300 Rogers & Adams Projects U same

MASSACHUSETTS

University of Massachusetts, Mechanical Engineering, Amherst, MA 01003 George Zinsmeister, 413-545-2165

Intro to M.E. Design AutoCAD Special Topics in CAD/CAM AutoCAD, CATIA Computer Aided M.E. Analysis CATIA, SORC Engineering, CAD/CAM and Drafting SIGGRAPH CAREER HANDBOOK page 156

MICHIGAN

Center for Creative Studies, Industrial Design, Detroit, MI 48202 Keith Vreeland, 313-872-3118

Computer Aided Industrial Design L N T IBM XT & AT, MegaCAD, TIPS

Lansing Community College, Construction & Engineering Technology, Lansing, MI 48901 Ronald Garthe, 517-483-1339

AutoCADD: Industrial I & Architectural I L other IBM PS/2 70s & 80s, tablets AutoCADD: Industrial II & Architectural II L G T same LandCADD L G T same CADkey L other T same CADAM Basic, CADAM Ind I, CADAM Ind II L other T same CADAM 3-D & Advanced 3-D L G T same CADAM Solids Design L G T same Projects UG same

MONTANA

Northern Montana College, Industrial Technology, Havre, MT 59501 Val Valdez, 406-265-3700, x3060

CAD I, II, III L N T Vectra 386s (color), tablets, plotters

NEW JERSEY

Stevens Institute of Technology, Electrical Engineering & Computer Science, Hoboken, NJ 07030 A. L. L. Narasimhan, 201-420-5611 [email protected]

Computer Graphics U VAX780, AT&T3B2 600 readings Intro to Computer Graphics G same same Advanced Computer Graphics G same same Projects UG same COLLEGES AND UNIVERSITIES Engineering, CAD/CAM and Drafting page 157

NEW YORK

Broome Community College, Computer Graphics, Binghamton, NY 13902 Gary Ostrander, 607-771-5337

Intro to Computer Graphics (Architecture) M Sun 386s (LAN), ARRIS, Automatix AX400 course notes Courses in CAD & CADAM M IBM4381, CADAM, CATIA, AutoCAD course notes

Columbia University, Mechanical Engineering, 500 W 120th St, New York, NY 10027 David A. Hoeltzel, 212-280-2965

Advanced CAD G G A IBM RT, 5080, Symbolics Computational Geometry for CAD/CAM G G A same Knowledge-based Systems G G A same Projects UG same

Rensselaer Polytechnic Institute, Engineering Computing Services, Troy, NY 12180 Adelaide Lane, 518-276-8041 [email protected]

Engineering Graphics L N T IBM PCs & clones Intro to Voice & Image Processing U GM A IBM 3081, mVAX II/GPX, Sun 3 Digital Picture Processing G GM A same Computer Vision G GM A same plus Mac IIs, VAX2000s

Rochester Institute of Technology, Technical Graphics, Rochester, NY 14614 E. Paciorek, 716-475-4994

Introduction to CAD L N T IBM AT, tablet, plotter, AutoCAD readings CAD L G T same same Independent Study U G T same same

NORTH CAROLINA

Appalachian State University, Technology, Boone, NC 28608 Al Rapp, 704-262-6359

Advanced Technical Illustration U G T MS DOS computers, VersaCAD Plotters course notes Engineering, CAD/CAM and Drafting SIGGRAPH CAREER HANDBOOK page 158

OKLAHOMA

Oklahoma State University, Technical Branch, Engineering Graphics, Okmugee, OK 74447 Stan Strecker, 918-756-6211

Intro to CAD L N T IBM PC clones, Autodesk, Computervision

SOUTH CAROLINA

Clemson University, Engineering Graphics, Clemson, SC 29634 Vera Anand, 803-656-5755

Engineering Graphics with Computer Applications L P T VAX8650, Tek terminals, TekniCAD Croft et al. Interactive Computer Graphics U PM T Sun4/110s, PATRAN, HOOPS, DI3000 Dewey Computer-Aided Geometric Modeling G GM A same Mortenson Projects UG Sun4/110s, HOOPS, ANSYS

TEXAS

Paris Jr. College, Drafting & Design Technology, Paris, TX 75460 Harley Davis, 214-886-2903

not specified L N T IBM PC/AT clones manuals

University of Houston, College of Technology, Houston TX 77004 Ronald C. Pare, 713-749-4652

CADD I, II U PM T HP3000, Lexidatas Demel, Barr Computer Drafting Design Applications U PM A same same Projects U same plus PCs, CAD software COLLEGES AND UNIVERSITIES Engineering, CAD/CAM and Drafting page 159

UTAH

Weber State, Manufacturing Engineering Technology, Ogden, UT 84408 Kelly Harward, 801-626-7144

Intro to CAD/CAM L M T 286s Wohlers CAD/CAM Applications U G B VAX 8700, VAXstation same CAD/CAM Projects U G B same same

VIRGINIA

University of Virginia, Electrical Engineering, Charlottesville, VA 22901 J. H. Taylor, 804-924-6100 [email protected]

Computer Graphics in Engineering Design G P A SunCORE Newman & Sproull

University of Virginia, Mechanical/Aerospace Engineering, Charlottesville, VA 22903 Larry G. Richards, 804-924-3191

Engineering Graphics L N A AT&T 6300s, CADkey Computer Graphics U P A Prime, Tektronix, IBM PS2s, AT&T 6300, CADkey PATRAN Park Computer-Aided Engineering & Design G PM A Prime, Tektronix, Medusa PATRAN Hearn & Baker Projects UG same plus Cyber, AT&T 3B5, VAX, Macs

WASHINGTON

University of Washington, Civil Engineering, Seattle, WN 98195 J. B. Schneider, 206-543-8678 [email protected]

Computer-Aided Planning & Design of Urban Systems U N A IBM ATs(EGA) course notes Projects UG same plus others Engineering, CAD/CAM and Drafting SIGGRAPH CAREER HANDBOOK page 160

University of Washington, Mechanical Engineering, Seattle, WA 98195 D. E. Calkins, 206-543-9443

Intro to Computer-Aided Technology U P T course notes

WYOMING

University of Wyoming, Engineering, Laramie, WY 82071 Bruce Dewey, 307-766-4253

Computer Graphics Applications UG PM T Prime, Tektronix, Macs, networked Dewey Projects UG same plus VAXs

CANADA

ALBERTA

University of Calgary, Electrical Engineering, Calgary, Alberta T2N 1N4 M. Smith, 403-220-6142 [email protected]

not specified U A A Sun3, Amiga

OTHER

ITALY

Universityersita di Bologna, Dipartimento di Meccanica, I-40736 Bologna Pier Gabriele Molari, 57-583450

Progettazione Assistita di Strutture Mechaniche G PM A VAX, Tek, VT 240, Genisco, GKS Angell, Foley & Van Dam course notes Projects G same plus HP 860

PORTUGAL

Technical University of Lisbon, CMEST - Civil Engineering, 1096 Lisboa Codex, Portugal Harold P. Santo, 351-1-80-1579/89-7650 [email protected]

Computer Graphics in Architecture & Structural Engineering UG MP A Macs, VAX, movie.BYU Santo COLLEGES AND UNIVERSITIES Arts, Architecture and Design page 161

Computer Graphics in the Arts, Architecture and Design

ALABAMA

John C. Calhoun State Colllege, Fine Arts, Decatur, AL 35609 Helen Austin, 205-353-3102, x397

Intro to Computer Graphics L N T IBM PC clones (Lumena), Mac IIs (Adobe, Aldus), Amigas (various) Projects U same

ARIZONA

Arizona State University, School of Art, Tempe, AZ 85287 not specified, 602-965-3468

Computer Art I UG T Mac IIs, IBM XT/ATs(Targa), video, TIPS, Superpaint Computer Art II UG G A same plus Matrix PCR, Cubicomp picturemaker Rogers Foley & Van Dam Advanced Computer Art UG G T same plus Lumena, Diaquest, Director same

Phoenix College, Art, Phoenix, AZ 85013 Gail Jamieson, 602-867-9666

11 courses L A Amiga 500, Mac Plus & II, (Mac: Vision, Draw, Paint), Freehand, Image Studio, film recorder, scanner

Scottsdale Community College, Art/Computer Art/Graphics, Scottsdale, AZ 85256 William J. Martin, 602-423-6337

Intro to Computer Graphic Arts L N T Amiga, Xerox 4020, film recorders 2-D Computer Design L G T same 3-D Computer Design L G T same Computer Art L G D same Designer Tools L G D same Arts, Architecture and Design SIGGRAPH CAREER HANDBOOK page 162

CALIFORNIA

CADRE Institute, San Jose State University, Dept of Art, San Jose, CA 95192 Joel Slayton, 408-924-4368

Intro to Computer Art & Design U N T Ridge32c(Raster Tech), Sun 3/280, MacIIs (Vista), 386 computers (Targa) Advanced Proj in Computer Art & Design U G T same Sem in Art, Science, and Technology U N T same Special Topics U N T same Graphic Design U N T same Computer Graphics for Designers U N T same Graduate Tutorials G N T same Independent Studies U T same

California Institute of the Arts, Motion Graphics Dept, Valencia, CA 91355 Vibeke Sorensen, 805-255-1050

Computer Animation U A Iris/Wavefront, Cubicomps, video/VAS IV

California State University - Los Angeles, Art, Los Angeles, CA 90032 Tony Longson, 213-343-4034

Computer Graphics I, II U N T VAXs, Mac IIs, Targa Computer Animation U G T same

Center for Electronic Arts, 329 Bryant St, Suite 3D, San Francisco, CA 94107 Harry Hedelman, 415-882-7063

continuing education courses, most MS DOS computers, Macs, of which involve computer graphics, Symbolics, Lumena, Aurora, Adobe, Aldus video and film

Cypress College, Fine Arts Department, 9200 Valley View St, Cypress, CA 90630 Michael Johnson, 714-828-0313

not specified LP T 286 & 386 computers (Targa), JVC & Dunn cameras, various software

Foothill College, Graphic Design, Los Altos Hills, CA 94022 Michael Loceff, 415-960-4384

Intro to Computer Graphics L N T IBM XT, Tecmar, Adobe, Lumena, PC paint course notes Computer Graphics Applications L G same Illustraton with the Macintosh L G T Mac SE, scanner, Adobe, Post-Script Data Show COLLEGES AND UNIVERSITIES Arts, Architecture and Design page 163

Layout & Graphic Design w/ Macintosh L G same Production Art with the Macintosh L G same Intro to Computer Animation L N T Silicon Graphics 3000, video recorder, controller, Cubicomp, movie.BYU course notes Intro to Cubicomp Vertigo L G Silicon Graphics, Cubicomp Projects U same

Los Angeles County High School for the Arts, Art Department, c/o Cal State - LA, Los Angeles, CA 90032 Jackie White, 213-343-4012 [email protected]

Computer Graphics L N T VAX 11/730s (VT 240s, Ramtek), Mac IIs pixel paint, IBM PC (Targa), video recorder

Platt College, Computer Graphics & Design, 6250 El Cajon Blvd, San Diego, CA 92115 Jack Davis, 619-265-0107

Computer Graphics & Design P N D Macintosh II (Adobe, Aldus), color scanner

Rancho Santiago College, Art/Telecommunications, Santa Ana, CA 92706 Sharon Ford, 714-667-3177

Intro to Computer Graphics L N IBM AT, Cubicomp, Matrix, inkjet, video Computer Graphics 2D/3D Fundamentals L G T same Paint/Advanced Modeling L G T same 3D Motion Graphics L G T same Advanced Animation L G A same Computer Graphics Production L G T same

San Diego City College, Computer & Information Sciences, San Diego, CA 92101 Lawrence Forman, 619-230-2666

Intro to Computer Graphics L N T IBM PS/2s (VGA), color printer, scanner, Dr. Halo Kerlow & Rosebush Computer Graphics on the Mac L N T Mac II cx, video, Superpaint, VideoworksII Guzelimian, Poole Computer Animation on a Mac L G A same

San Francisco State University, Art, San Francisco, CA 94132 Stephen Wilson, 415-338-2176

3 courses in applications in conceptual design LU N T Mac IIs, Targa, Iris, scanners Interactive Media U N T same 2 courses in Advanced Imaging U N T same Arts, Architecture and Design SIGGRAPH CAREER HANDBOOK page 164

UCLA Extension, Arts, 10995 Le Conte Ave, Los Angeles, CA 90024 Ruth Iskin, 213-206-8503

Professional Designation Program in Computer Graphics: Animation, AT&T (Targa), Macs, Truevision 2D Imaging or Desktop Publishing AutoCAD, Adobe, Pagemaker

West Coast University, Computer Graphics for Artists & Designers, Los Angeles, CA 90020 Tony Longson, 213-386-7782

Certificate Program in Computer Graphics P T VAX, Ramtek, Macs, PS300, LaserWriter

COLORADO

University of Colorado - Boulder, Fine Arts, Boulder, CO 80309 Charles Roitz, 303-492-6645

Electronic Photography UG N T IBM XT, Colorado Video, Howtek printer

University of Denver, New College, Aurora, CO 80014 Cynthia Rudy, 303-745-9600

Microcomputer Graphics Tools G B IBM system 30s

University of Southern Colorado, Art, Pueblo, CO 81001 Carl Jensen, 719-549-2816

Computer Imaging LU T IBM ATs, Mac IIs, Genigraphics, Adobe, Imagestudio Macintosh II Graphics LU T same

CONNECTICUT

Connecticut College, Art, New London, CT 06320 Chair, Art Dept, 203-447-1911

Graphic Design L T Mac II, SE, post script printers Computer Art U A same plus Amiga, Photon Cel Animator Studio 8, Adobe DISTRICT OF COLUMBIA

The George Washington University, Art, Washington, DC 20052 Jeffrey L. Stephanic, 202-994-6085/9052

Intro to Computer Graphics for Artists U N T Macintosh, LaserWriter Computer Graphics L N T IBM (Artworks), Macintosh, scanners Visual Communication III/ Computer Graphics U T IBM PS/2(30, 50), Circus COLLEGES AND UNIVERSITIES Arts, Architecture and Design page 165

FLORIDA

Miami-Dade Community College Faculty, Staff & Program Development, Miami, FL 33176 Chris Robinson, 305-347-2508

In-service Training G IBM PS/2 (70), Deluxe Paint II

Ringling School of Art & Design, Computer Graphics & Design, Sarasota, FL 34234 Jacquelyn Ford Morie, 813-351-4614 [email protected]

Basic Computer for Majors L N A Amiga 2000s, IBM PS/50s, scanner, Deluxe Paint Aldus Rosebush & Kerlow, Rivlin Computer Illustration I & II L N A same plus IBM ATs, Inovion, color ptr, various software Graphic Design w/Computer Application L N T same Computer Graphic Tech. I & II L G A same plus Mac IIs with graphics software Computer Graphics Paint Systems L N T same Digital Photography U G A MacIIs ImageStudio, QuickCapture, Inovion Sony camera, viewing, printer system Advanced Publication Tech I & II U G A Mac IIs, PostScript printer, scanner, Adobe, Aldus, Quark Intermediate Animation U G A Amiga 2000s, output to 3/4" tape, Sculpt Animate 4D, A2live, Fantavision Advance Animation U G A 386 computers, Topas 3D modeler & animation, Diaquest ctrl, Cygnus corrector Computer CAD Systems U N A IBM PS/50s, AutoCAD AutoCAD books

University of South Florida, Art & Art Education, Tampa, FL 33620 Bruce L. Marsh, 813-974-2360

Intro to Computer Graphics L N T Amigas, digitizers, video editors, Lumina 8, SG 4D/70G (Alias) Advanced Computer Graphics L G T same Computers for Visual Learning U N T same Directed Study for Grads G N B same Projects G same

GEORGIA

Dalton College, Vocational - Technical/Design, Dalton, GA 30720 Michael Jordon, 404-272-4550

Textile Design L G T 386s, tablets, plotters, scanners, Lumena Arts, Architecture and Design SIGGRAPH CAREER HANDBOOK page 166

ILLINOIS

Columbia College, Computer Graphics, 600 S. Michigan Ave, Chicago, IL 60605 Bill Linehan, 312-663-1600, x429

Programming for Computer Graphics L N T Amiga 1000s & 2000s, film recorder, Xerox 4020 printer, Liquid Light Imprint Computer Graphics & Video L G Amiga 2000s, digitizer, 8mm camcorder, 1/2" VHS editor, animation software Lovejoy Computer Graphics Intermediate I U G T IBM AT clones (Targa 16), Lumina 16 color printers Kerlow & Rosebush Computer Graphics Intermediate II Experimental Imaging U G T same plus Crystal 3D, image capture system Kerlow & Rosebush Computer Graphics Intermediate II 3D Modeling/Animation U G T same plus Diaquest frame controller Kerlow Computer Graphics & Applications I L N T Amiga 1000s&2000s, Digi-View, film rcdr manuals Computer Graphics & Applications II 3D Modeling & Animation L G T same Kerlow & Rosebush Computer Graphics & Applications II Experimental Imaging L G T same Kerlow & Rosebush Mac II: Motion Graphics U G Mac IIs (NuVista), Hypercard, PixelPaint Anzovin Mac II: 3D Imaging U G same Anzovin

Illinois Institute of Technology, Institute of Design, Chicago, IL 60616 312-567-3250

Computer Techniques in Imagemaking U PM T HP2700 terminals (Starbase) Projects UG same plus Iris 4D/70G, Sun3, Mac IIs, Alias

The School of the Art Institute of Chicago, Art and Technology, Chicago, IL 60603 Joan Truckenbrod, 312-443-3700

Experimental Computer Imaging L N T Mac SE, Plus, II, scanners, video Truckenbrod Advanced Computer Imaging U G T IBM 386s(Targa), Lumena, scanner, video, film COLLEGES AND UNIVERSITIES Arts, Architecture and Design page 167

Computer Graphics Programming U G T Sun 3 Computer Animation - 2D U G A same plus Dunn camers, Amiga 2000 Computer Animation - 3D U G A same Interactive Media U G T Mac II, Video disk Electric Publication Design U G T Mac II, PageMaker, Quark, Adobe, Aldus Kinetics UG AG A varies Computers/Holography UG AG A varies Projects UG all same

INDIANA

Purdue University, Creative Arts, West Lafayette, IN 47907 Rick Paul, 317-494-3058

Computer Graphics L N T IBM PC/XT clones, Mac SEs & Plus Zenith 286, plotters, AutoCAD, videoworks Projects U same plus Suns, IBM PC/AT clones

IOWA

Graceland College, Art, Lamoni, IA 50140 Daniel Keegan, 515-784-5141

not specified U A Mac SE & IIs, Pagemaker, Illustrator Imagestudio, Quark manuals

Marycrest College, Computer Graphics, Davenport, IA 52804 Alan Garfield, 319-326-9532

Art & Computers L N T IBM AT clones, 386s, Paintbrush Computer Art & Design I U PG A IBM AT clones, Lumena, Dr. Halo, printers Computer Programming Projects U G A same, BASIC, C, Assembly readings Computer Art & Design II U PG A same, AutoCAD, MegaCADD, Animate Show Computer Art & Design III U PG A same, Ventura, Pagemaker , Wordperfect Seminar U PG A same Special Topics U PG A same, digitizers, scanners, animation software KANSAS

Kansas State University, Clothing, Textiles, & Interior Design, Manhattan, KS 66506 Barbara Cannon, 913-532-6993

CAD f/Interior Design & Housing L T Zenith 159s (Summasketch digitizers) AutoCAD CAD for Apparel Design L T same Arts, Architecture and Design SIGGRAPH CAREER HANDBOOK page 168

MARYLAND

Frederick Community College, Fine Arts/Communications, Frederick, MD 21773 Martin Nikirk, 301-694-1259

Computer Graphics & Design G A Macs, Pagemaker, Superpaint, Mac 3D Kerlow & Rosebush

Maryland Institute College of Art, Visual Communication, Baltimore, MD 21223 Lew Fifield, 301-669-9200

Basic Computers T Mac Plus, IIs, 286s Desktop Publishing T Pagemaker, Illustrator, QuarkXpress CAD for Interior Design T AutoCAD, TIPS, RIO, TOPAS Advanced Illustration & Design T same TARGA Illustration/Solid Modelling T same Independent Study T same plus Aurora, MAC

University of Maryland College Park, Design, College Park, MD 20742 Terry Gips, 301-455-6267

Intro to Computer Graphics & Design L N T IBM PS2/50, AutoCAD, Dr. Halo Kerlow, Foley & Van Dam Computer Applications in Space Design U N T same Computer Generated Decorative Patterns U G T same Computer Imaging U T same plus EGA & Targa boards, Number Nine, Chorus Projects U same

MASSACHUSETTS

Massachusetts College of Art, Computer Arts Center, Boston, MA 02215 Hubert Hohn, 617-232-1555, x357

Introductory & Advanced courses in Amigas, Apple IIes & IIGSs, IBM PCs & graphics programming, design, clones, Macs, Lisas, video (genlock), animation, publishing Pagemaker

The New England School of Art and Design, Graphic Design, Boston, MA 02116 Steve Gildea, 617-536-0383

Intro to Computer Graphics P N T IBM AT clones, PC paint Intro to Desktop Publishing P N T AT clones, Mac SEs, Pagemaker laserwriter Basic AutoCAD P N T AT clones, digitizers, prtr-pltr AutoCAD Inside AutoCAD COLLEGES AND UNIVERSITIES Arts, Architecture and Design page 169

Computer Design & Illustration P N T AT clones (Targa), digitizers, Dunn camera color printer, VHS recorder Computer Animation P A T same Advanced Computer Graphics P A T same Computer Graphics for Business P G T Autographix 200 workstation, color printer Computerized Typesetting Compugraphic, MCS Powerview MCS 8000, G.O.Graphics Craig Williams College, Computer Science, Williamstown, MA 01267 Donald House, 413-597-3052 [email protected]

Computer Imaging L N A Mac IICXs, NGS

MICHIGAN

Grand Valley State, Communications, Allendale, MI 49401 Deanna Morse, 616-895-3101

Computer Image Making U N A Mac II

Lansing Community College, Media/Art, Lansing, MI 48901 Sharon Wood, 517-438-1476

Intro to Computer Graphics L N T Computer Graphics I L G T IBM AT, PS2/30, Lumina, VHS recorder Computer Graphics II L G T same 2D Animation L G T same Business Presentations L GM T same 3D Animation L G A Cubicomp 60, Sony BVU 950 Desktop Publishing L T Mac SE & II, Laserwriter Plus & IINTX Pagemaker, Image Studio Projects U all same

Schoolcraft College, Art & Design, Livonia, MI 48152 Lincoln Lao, 313-462-4400, x5221

Intro to Computer Aided Art and Design U T IBM AT, Mac II Intermediate Computer Aided Art and Design U G T same plus Amiga Advanced Computer Aided Art and Design U G A same Desktop Publishing U G T same

University of Michigan, EECS Dept, Ann Arbor, MI 48109 Spencer Thomas, 313-936-2616 [email protected]

Computer Animation L N D Apollo network, Intelligent Light, video Arts, Architecture and Design SIGGRAPH CAREER HANDBOOK page 170

Wayne State University, Art & Art History, Detroit, MI 48202 Robert Martin, 313-577-2985

Computer Art T Mac SE, AT&T 6300 (Truevision), Amiga 2000 (Electronic Arts) Projects U same

MINNESOTA

Minneapolis Technical Institute, Commercial Art, Minneapolis, MN 55403 Dianne M. Michels, 612-370-9499

10 different courses P N T Mac SE, II, IIcx, IBM AT & PS/2, scanner, film recorder, Illustrator 88, PageMaker, Lumina

MISSOURI

St. Louis Community College at Forest Park, Art, St. Louis, MO 63110 Evann Richards, 314-644-9352

Computer Art Applications L A IBM clones, color printer, scanners omnicrom, Publisher’s paintbrush, Aldus Corel Communications Graphics L A same Computer Typesetting L A same Desktop Publishing L A same Advanced Computer Art Applic. L A same Introduction to AutoCAD L A same plus AutoCAD

St. Louis Community College at Meramec, Communications, Kirkwood, MO 63122 Diane Carson, 314-966-7532

Filmmaking & Adv. Video Prod. L N A Apples, Printshop, Fantavision, DayyleDraw course notes

University of Missouri, Environmental Design, Columbia, MO 65211 Richard Helmick, 314-882-7470

Computer Graphic Applications for Design U N T Mac Plus & II, IBM AT &PS2/60 tablets, plotter, software Design Communications II U T same Projects UG same COLLEGES AND UNIVERSITIES Arts, Architecture and Design page 171

NEBRASKA

College of Saint Mary, Computer Graphics, 1901 S. 72nd, Omaha, NE 68124 Tom Schlosser, 402-399-2621

Computer Graphics major with 6 courses T

NEW JERSEY

Glassboro State College, Art, Glassboro, NJ 08028 Des McLean, 609-863-6439

Computer Art L N T 386s (Targa), tablets, video readings Intermediate Computer Art U G T Mac SEs, IIs, Studio 8, Lumena readings Motion Graphics I U G T Crystal 3D, RIO, TIPS, Adobe readings Motion Graphics II U G T Pixelpaint, Superpaint, video readings Projects U same

Kean College of New Jersey, Fine Arts, Union, NJ 07083 Robert B. Coon, 201-527-2307

Computer Graphics U N T Apple IIes, Mac IIs, plotters tablet Via Video Computer Graphics II U G T same

New Jersey Institute of Technology, School of Architecture, Newark, NJ 07102 M. Stephen Zoepski, 201-596-3080

Architectural Studio P N T 386s (VGA, Targa) Projects UG same

Rutgers-Camden, Art, Camden, NJ 08102 Maria Palazzi, 609-757-6176

Intro to Desktop Publishing L N T Mac IIs, Word, Aldus, Adobe, scanner Computer Art I L T Leading Edge PC, Dunn camera, digitizer Artronics, Genigraphics Computer Art II L G T same Computer Animation I U G T Amiga 2000, Sun 3/60, OSU/agE, various HP color plotter, Sony 3/4" video Computer Animation II U G T same Computer Graphics Internship U G T agency or studio facilities Arts, Architecture and Design SIGGRAPH CAREER HANDBOOK page 172

Seton Hall University, Communication Graphics, South Orange, NJ 07079 Ken Hoffman, 201-761-9474

Intro to Computer Graphics L N T IBM ATs, No 9, Targa, Matrix recorder Sony video, Studiowork, Paint Hoffman Presentation & Information Graphics U G A same same Computer Design in Advertising Art U G T same plus Tek 5696, Lumena, color printer Advanced Computer Graphics & Animation U G A same plus frame controller, Cubicomp picturemaker Adv Electronic Design & Desktop Publishing U G A Mac IIs, NTXII laserwriter, Aldus, Adobe IBM ATs, Quark

Trenton State College, Art, Trenton, NJ 08650 Ruane Miller, 609-771-2655

Computer Graphics for Visual Arts L N T Mac IIs (Vista), 286 & 386s , (Targa) Wilson, Kerlow & Rosebush

William Paterson College, Art, Wayne, NJ 07470 Leslie Noble Farber, 201-595-2722

Computer as an Art Medium I L N T 386 computers, JVC video in, Lumena Matrix recorder, printer Computer as an Art Medium II L G A Artwork, sync generator, color encoder Computer as an Art Medium III U G A same Computer as an Art Medium IV U G A same plus Iris 3130s, 4D & 4D80GTs frame controller, Alias Computer Animation I & II U T Iris 3130s, 4D &4DGTs, video controller 3/4" video editor, Seiko D-scan printer Computer Art & Design I & II G G A same

NEW MEXICO

New Mexico Highlands University, Visual Communications, Las Vegas, NM 87701 Bruce L. Papier, 505-425-7511

Electronic Imaging I L N A 286 & 386s (Targa), Mac SE, color printer Matrix film recorder & video equip, Lumena Electronic Imaging II U G A same Graphic Design I, II, III U G A same COLLEGES AND UNIVERSITIES Arts, Architecture and Design page 173

NEW YORK

Buffalo State College, Design (Graphic Design), Buffalo, NY 14222 Herta Kane, 716-882-7778

Computer Graphics for Design & Art U AGM A Mac SE, Plus, II, Cybervision Kerlow & Rosebush Projects U same

City College of New York, CUNY Art Department, New York, NY 10031 Annette Weintraub, 212-690-4201

Computer Graphics Workshop U T Macs (plus, IIcx), Laserwriters, page & video scanners, all major software, IBM PCs Graphic Design on the Macintosh U T same Projects U same

The Door, Creative Workshops, 127 6th Ave, New York, NY 10013 Jacqueline Skiles, 212-941-9090, x256

workshops L N D Apple IIe, Amiga

Marist College, Mathematics & Computer Science, Poughkeepsie, NY 12601 William J. Joel, 914-471-3240, x614/610 [email protected]

Computer Art U P A IBM-PC/XT

Pratt Institute - Manhattan, Continuing Education, New York, NY 10012 Karen Miletsky, 212-925-8481

Certificate Program in Computer Graphics: Video Animation, Macs (Adobe, Pagemaker, Quark, Image Desktop Publishing, Electronic Studio), MS DOS,Targa, TIPS, Lumena Illustration RIO, Cubicomp

Rensselaer Polytechnic Institute, Engineering Computing Services, Troy, NY 12180 Mark Resch, 518-276-6274 [email protected]

Intro to Computer Art L N T Amigas, IBM PCs & clones Intro to Visual Electronic Art L N same

Rochester Institute, Technical National Institute for the Deaf, Applied Art, Rochester, NY 14623 Michael Voelkl, 716-475-6203

Computer Illustration & Separation Methods L G T Mac SEs, IIs, IIcxs, scanner Illlustrator 88, Freehand Projects U same Arts, Architecture and Design SIGGRAPH CAREER HANDBOOK page 174

School of Visual Arts, Computer Graphics, 209 E. 23rd St, New York, NY 10010 Lawrence Gartel, 718-229-8540

Computer Graphics Workshop L N T IBM PCs, Amiga, Easel Dr. Halo, Deluxe Paint Gartel

Syracuse University, Art Media Studies, Computer Graphics Program, Syracuse, NY 13244 Edward Zajec, 315-443-1033 [email protected]

Intro Computer Graphics for the Visual Arts (2 sem) L N A PC clusters (graphics boards) Sun cluster, Tek cluster Inter Computer Graphics for the Visual Arts (2 sem) U G A Mac II cluster, VAX 8810 network Adv Computer Graphics for the Visual Arts (2 sem) U G A same Grad Computer Graphics for the Visual Arts (2 sem) G G A same

OHIO

Bowling Green State University, Art, Bowling Green, OH 43403 Ron Coleman, 419-372-2786

Introduction to Computer Art U N T Atari Mega 2 & 3, animation software desktop publishing, CAD, video equipment 3D Animation U T laser printer, genloc, Amiga 1000s Paint & sculpt software, Lumena Problems in Computer Art U T same Advanced Problems in Computer Art U T same Simulation or Special Techniques U T same

Central State University, Fine Arts, Wilberforce, OH 45384 Andrew F. Scott, 513-376-6610

Computer Graphics Workshop L N T Amiga 500, 2000, camera, camcorder Genlock, Sculpt-Animate 3D/4D Project U same

Columbus College of Art and Design, Industrial Design, Columbus, OH 43215 Carl Garant, 614-224-9101

Intro to Computer Graphics L N T Amigas, Deluxe Paint, Director manuals Computer Graphics (Amiga) L N A same same Computer Graphics (CAD) U T Apple IIes, RoboCAD COLLEGES AND UNIVERSITIES Arts, Architecture and Design page 175

Computer Graphics (MegaCADD) U G A AT&T 6300s (DB Professional, Design Brand Artist) Computer Graphics (CAM) U G A Apple IIe (RoboCAM, milling machine)

Ohio State University, Advanced Computing Center for Arts & Design, Columbus, OH 43212 Donald Stredney, 614-292-3416

Microcomputer Graphics I LU N T Amiga 2000, video course notes Microcomputer Graphics II LU G T same course notes Computer Graphics in Arts & Education U N T Computer Animation Prod. I G P A Sun NFS course notes Computer Animation Prod. II G PG A Sun NFS, Convex C-1 Computer Animation Prod. III G PG A same course notes

Ohio State University, Computer Aided Architectural Design, Columbus, OH 43210 Chris I. Yessios, 614-422-2918

Computer Aided Architectural Design G PGM T IBM 4341, RTs, Mac IIs, X Windows

University of Cincinnati, College of Design, Architecture & Planning, Cincinnati, OH 4521?? Director, Graphics Center, 513-556-2157

many courses LUG T Macs, IBMs, Teks, Harris HCX9(UNIX) Cubicomps

OREGON

Mt. Hood Community College, Visual Art/Graphic Design, Gresham, OR 97030 Craig Clark, 503-669-6968

Computer Graphics L N T Mac SEs, IIs, IBM, scanners, digitizing camera, tablets Graphic Design L G T same

Pacific NW College of Art, Graphic Design, 1219 SW Park Ave, Portland, OR 97205 Lynda Ferris, 503-226-4391

Color Computer U N T Mac Plus, SE, IIs, scanners, Dunn camera tablets, genlock board, Colorfreeze 24, Desktop Publishing L N T Image Studio, Aldus, Adobe Freehand, Pixelpaint workshops U N T same Arts, Architecture and Design SIGGRAPH CAREER HANDBOOK page 176

University of Oregon, Fine Arts, Eugene, OR 97403 Craig Hickman, 503-683-5562 [email protected]

Computers in Art I & I UG P T Mac SEs & IIs, LaserWriter, inkjet Projects UG same

PENNSYLVANIA

Carnegie-Mellon University, Art, Pittsburgh, PA 15213 Harry Holland, 412-268-7158 [email protected]

Art & Computer I U N T IBM PCs, XTs, ATs (PGA or VMI) IBM RTs, plotters, printer Adv Art & Computer II & III U G T Matrix film recorder, Macs, 3-D Graphics TrueVision course notes MFA Art & Computer G G T same Graphic Programming U P T same

Indiana University of Pennsylvania, Art, Indiana, PA 15705 Paul Ben-Zvi, 412-357-2530

Computer Graphics & Electronic Imagery U T Macs, scanners, digitizers, video Projects UG same plus University resources

University of Pittsburgh, Studio Arts, Pittsburgh, PA 15260 Charles Glassmire, 412-624-9335 [email protected]

Computer Graphics U T Sun 3/CXP, IBM ATs, digitizers, cameras software for paint, image analysis, modeling Project U same

RHODE ISLAND

Rhode Island School of Design, Academic Computing, Providence, RI 02903 Director, 401-351-3511, x443

many courses LUP NG TA Mac plus, SE, II, Amigas, IBMs, digitizers printers, plotters

SOUTH DAKOTA

Northern State College, Art, Aberdeen, SD 57401 Jim Gibson, 605-622-7762

Computer Aided Animation U G B Apple IIGS, Amiga, video, software Project U same COLLEGES AND UNIVERSITIES Arts, Architecture and Design page 177

South Dakota State University, Visual Arts, Brookings, SD 57007 Mitchell Bills, 605-688-4662

Graphic Design II, III U A Mac Pluses, MacDraw, Aldus Video Graphics U A Amiga, Digiview, Deluxe Paint Videoscape 3D

TENNESSEE

Memphis State University, Art/Applied Design, Memphis, TN 38152 Jim Watkins, 901-678-2978

Computer Graphics N T IBM XT & ATs, video digitizer, frame controller, Lumena, Genigraphics, Graphic Design for Digital Communication G T Digital Arts 3-D, TIPS Studies in Computer Animation G G A same Computer Graphics Workshop G G D same Projects G same

University of Tennessee, Art, Knoxville, TN 37996 Susan E. Metros, 615-974-3208 METROS@UTKVX

Introduction to Computer- Enhanced Design L N T Mac Pluses, SE, II, Laser Writer Intermediate Computer- Enhanced Design U G T Panasonic 3D modelling station Advanced Computer- Enhanced Design G G T MS/DOS computers, Amiga animation sys

Middle Tennessee State University, Art, Murfreesboro, TN 37132 Marc J. Barr, 615-898-2455

Intro to Computer Art U O A Amigas, DigiPaint Intermediate Computer Art U P A Mac II's, PixelPaint, Studio 8, Adobe, Aldus Workshop U P A same

TEXAS

Our Lady of the Lake University, Art, 411 S.W. 24th St, San Antonio, TX 78285 Tharsilla Fuchs, 512-434-6711, x251

in preparation L

Texas A&M University, Visualization Lab, College Station, TX 77843 Thomas E. Linehan 409-845-3465

3D Modelling & Animation U P D Suns, Iris 4D, Abekas course notes Arts, Architecture and Design SIGGRAPH CAREER HANDBOOK page 178

3D Computer Animation I, II G PG D same course notes Computing Environments G P D Suns, Iris, NeXT Environmental Simulation G P D same Digital Synthesis Techniques G P D same Experimental Visualization Techniques G PG D same

University of North Texas, Art, Denton, TX 76203 Larry B. Simpson, 817-565-4016

Computer Applications in Arts U A T Apple, Mac II, WASATCH, Artronic Projects UG same

UTAH

Weber State College, Visual Arts, Ogden, UT 84408 Mark Biddle, 801-626-6457

Computer Aided Art & Design U G T IBM (TimeArts), Mac plusses, SEs, IIS animation, paint Project U same

VERMONT

University of Vermont, University Computing Services, Burlington, VT 05405 Wesley Alan Wright, 802-656-1254 [email protected]

Computer Graphics for Designers L AT&T6300, PCPaint Intro to Computer Art L Amigas, HP Paintjet, PixelPaint

VIRGINIA

Virginia Commonwealth University, Communication Arts & Design, Richmond, VA 23284 Mary Anna Lafratta, 804-367-1709

Media Arts Survey L N T Apple IIe, Amiga 500, tablet, digitizer course notes Computer Graphics 1 U G T Amiga 500/2000 manuals Computer Graphics 2 U A T same same Computer in Graphic Design U G T Mac plus, Laserwriter, Imagewriter Computer in Illustration same plus Amiga 500/2000 Visual Communication Workshop G D Macs, Amigas COLLEGES AND UNIVERSITIES Arts, Architecture and Design page 179

WASHINGTON

University of Washington, Architecture, Seattle, WA 98195 Brian Johnson, 206-543-4180, x43771 max.acs.washington.edu

Computer Graphics Applications U G T VAX8800, Zenith PCs, IBM PS2/50s & AT clones, software

Washington State University, School of Architecture, Pullman, WA 99164 Jeff Burnett, 509-335-1937

Computer Applications Seminar U P T 386s (VGA), Macs, tablets, digitizers, AutoCAD Project UG Autosketch, Ventura, PageMaker

WISCONSIN

University of Wisconsin - Oshkosh, Art, Oshkosh, WI 54901 Sandro Corsi, 414-424-2235 [email protected]

Computers in the Visual Arts L N T Mac IIs, SEs, Pluses, Pixar II Sun 3/150, film recorder, software Computer Applications in the Visual Arts U G T same Art Seminar - Computer Graphics U G T same

CANADA

ALBERTA

The Banff Center, Media Arts, Banff, Alberta T0L 0C0 Gary Beirne, 404-762-6641 [email protected]

post graduate residency program G G 386 micro, Vista, RIO, Lumena, Mac II Amiga2000

BRITISH COLUMBIA

Emily Carr College of Art & Design, Computer Arts, Vancouver, BC V6H 3R9 Dennis J. Vance, 604-687-2345

12 courses integrated in Art program Atari ST, Mac plus & II, Amiga, Sun Arts, Architecture and Design SIGGRAPH CAREER HANDBOOK page 180

ONTARIO

Durham College of Applied Arts & Technology, Graphic Design, Oshawa, Ont L1H 7L7 Barb Suen, 416-576-0210

Electronic Design I L N T Mac IICX, Quark, Adobe, Aldus Electronic Design II U T same plus Macromind, Colorstudio Production Graphics U A same Portfolio Studies U A same

OTHER

BRAZIL

Pontificia University Catolica - RJ, Arts, R. Marques de S. Vincente 225, Gavea-Rio de Janeiro, CEP 22453 Rejane Spitz, 021-529-9211

Intro to Computer Graphics U N T IBM AT, PS2(70 & 80)s

JAPAN

Nippon Electronics College, Art, 1-25-4 Hyakunin-cho, Shinjuku-Ku Tokyo 169 Suma Noji, 03-369-9331

Computer Graphics G N A VSX758s & kurams, YGT100s, TINK, PIC readings

Tokyo Kogakuin College of Arts, Computer Graphics, 1-35-4 Yoyogi, Shibuya-Ku, TOKYO Motohiro Hayasaka. 03-370-2981

Computer Graphics G AG NECs, Iris3020, VAX11/750, frame buffer

NETHERLANDS

SCAN (National Institute for Computer Animation), Graduate, 9701 BH, Groningen Wim van der Plas, 31-50-138345 SCAN@HGRRUG5

Computer Graphics & Animation G other T Apollos, IBM RTs & PS2/80s cameras, recorders, software

UNITED KINGDOM

Middlesex Polytechnic, National Centre for Computer Aided Art & Design, Barnet, Herts EN4 8HT Len Breen, 01-368-1299

MA Computing in Design G N A VAXs (GEMS, Picaso), Macs IIs(Quantel) Projects UG same COLLEGES AND UNIVERSITIES Geography and Geology page 181

Computer Graphics in Geography and Geology

ALABAMA

Jacksonville State University, Geography, Jacksonville, AL 36265 Thomas F. Bancom, 205-231-5781

Cartography U A Apple IIs, Compaq, IBM 4341, digitizers plotters, software Computer Mapping U B same

ARIZONA

Arizona State University, Geography, Tempe, AZ 85287 Frank Aldrich, 602-965-5023

Geographic Information Systems U N A IBM 3083(GFIS/GPG), 5080 terminals

CALIFORNIA

California State University - Stanislaus, Geography, Turlock, CA 95380

under development

CONNECTICUT

Central Connecticut State University, Geography, New Britain, CT 06050 James N. Snaden, 203-827-7218 [email protected]

Computer Cartography U other A VAX 8650s, IBM-PC/XTs, Mac , digitizer plotter Geographical Information Systems U other A same

Southern Connecticut State University, Geography, New Haven, CT 06515 Leon Yacher, 203-397-4354 [email protected]

Computer Applications in Geography U P D VAX, IBM PC, DEC Rainbow, SAS, SPSS Monmonier FLORIDA

Florida State University, Geography, Tallahassee, FL 32306 George F. Hepner, 904-644-1706

Computer Mapping U N A VAX, Prime, IBM PC/ATclones, Atlas Surfer Adv Geographic Information Systems U PM A same plus Arc/Info, MAP, Geovision Geography and Geology SIGGRAPH CAREER HANDBOOK page 182

GEORGIA

Georgia State University, Geography, Atlanta, GA 30303 Borden Dent, 404-651-3232

Computer Graphics in Geography U B micros, digitizers, plotters

ILLINOIS

DePaul University, Geography, Chicago, IL 60614 Dr. Dewey, 312-341-8271

not specified L N B IBM PCs & clones, digitizers, Atlas

IOWA

University of Iowa, Geography, Iowa City, IA 52242 Marc P. Armstrong, 319-335-0153 [email protected]

Computer Methods in Geographical Analysis UG P A Macs, IBM-PC, tablet, plotter Geographic Information Systems U A same

KENTUCKY

Western Kentucky University, Geography & Geology, Bowling Green, KY 42101 Glen Conner, 502-745-4555

Computer Mapping U A VAX, Tek, Apple, DISSPLA, SYMA none

MAINE

University of Maine, Surveying Engineering, Orono, ME 04469 Andrew Frank, 207-581-2174 [email protected]

Geometry & Computer Graphics U AM A VAX 3400s Projects UG same plus Macs, Intergraphs

MARYLAND

Frostburg State University, Geography, Frostburg, MD 21532 Craig Caupp, 301-689-4755

Computer Mapping & Graphics U A IBM AT/XT, 2/30, Atlas, IDRIS, Dr. Halo II COLLEGES AND UNIVERSITIES Geography and Geology page 183

MINNESOTA

University of Minnesota - Duluth, Geography, Duluth, MN 55812 Kurt Schroeder, 218-726-6226 [email protected]

Computer Cartography U N A VAX, Encore, FIGARO, TEMPLATE plotters Monmonier Advanced Computer Cartography U P B same same Interactive Computer Cartography U P B same same Projects U same

NORTH CAROLINA

Appalachian State University, Geography & Planning, Boone, NC 28608 Arthur Rex, 704-262-3000 [email protected]

Computer Assisted Cartography & Graphic Information Systems U AG A AT&T 6300s, digitizers, ERDAS ARC/INFOATLAS Monmonier

East Carolina University, Geography & Planning, Greenville, NC 27834 Charles Ziehr, 919-757-6087 [email protected]

Princ. of Computer Cartography U N A IBM, IBM-PS2s, plotter digitizer, Atlas SURFER Monmonier, Carter

OHIO

Ohio State University, Geography, Columbus, OH 43210 H. Moellering, 614-292-2608 [email protected]

Numerical Cartography G PM A micros, workstations, mainframes Interactive Cartographic Systems G PM A same Seminars in Cartography G PM A same Projects G same

University of Akron, Geography, Akron, OH 44325 Robert Kent, 216-375-7622

Computer Assisted Cartography U N A Monmonier Geographic Information Systems U N A Monmonier Projects UG Geography and Geology SIGGRAPH CAREER HANDBOOK page 184

TEXAS

Sam Houston State University, Geography, Huntsville, TX 77341 John H. Bounds, 409-294-1453

Map-Air Photo Interpretation U N D C-64, IBM, CADPAK, AutoCAD course notes

VIRGINIA

Virginia Polytechnic Institute & State University, Blacksburg, VA 24061 L. W. Carstensen, 703-961-5774 [email protected]

Computer Cartography U P A IBM PC/XT clones(#9 cards), digitizers scanners, etc

WISCONSIN

University of Wisconsin - Stevens Point, Geography, Stevens Point, WI 54481 Keith Rice, 715-346-4454

Computer-Assisted Cartography U M A mVAX, AT&T 6300, IBM PS/2, Tek plotter Monmonier Geographic Information Systems U M A same Marble et.al. Projects UG same

University of Wisconsin - Whitewater, Geography, Whitewater, WI 53190 Dennis Richter, 414-472-1071

Computer Mapping & Applications U G A VAX11/780, 286 & 8088 micros Atlas, mapInfo

CANADA

ONTARIO

University of Windsor, Geography, Windsor, Ontario N9B 3P4 Ronald Welch, 519-253-4232, x2179 WINDSOR1BF9

not specified U N A IBM 4081, XT, AT, SYMAP, IDRIS, SURFER COLLEGES AND UNIVERSITIES Other Applications page 185

Other Computer Graphics Applications

CALIFORNIA

California State University - Northridge, Mathematics, Northridge, CA 91330 Joel Zeitlin, 818-885-2721

Differential Geometry U IBM PC clones Millman & Parker

San Diego City College, CIS, San Diego, CA 92101 Lawrence Forman, 619-230-2666

Applied Business Computer Graphics L N T 286 & 386 micros (VGA), Mac SE, software

University of California - San Diego, Mathematics, La Jolla, CA 92093 Donald Anderson, 619-534-2628 [email protected]

Geometry of Computer Graphics U PM A PC-AT clones, Modula-2 Projects U same

MICHIGAN

Grand Valley State University, Communications, Allendale, MI 49401 Deanna Morse, 616-895-3101

Computer Image Making U N A Macs

NORTH CAROLINA

Environmental Protection Agency, Research Triangle Park, NC 27710 Theresa-Marie Rhyne, 919-541-0207 UNISYS@EPA

seminars in various aspects IBM ATs, Suns, Macs, Matrix camera plotters

NORTH DAKOTA

University of North Dakota, Mathematics, Grand Forks, ND 58202 Dave Uherka, 701-777-4602 [email protected]

Topics in Applied Math: Iteration and Computer Graphics U PM D IBM 3081 & PCs, VAXs, Mac Bibliography SIGGRAPH CAREER HANDBOOK page 186

Computer Graphics Bibliography

Adams, Lee. Supercharged Graphics. - TAB Books, PA, 1988

Angell, Ian O. A Practical Intro to Computer Graphics - Halstead Press, NY, 1981

Anzovin, Steven. Exploring Hypercard - Compute! Publications, PA, 1988

Ballard, D. H. & Brown, C. M. Computer Vision - Prentice-Hall, NJ, 1982

Barnsley, Michael. Fractals Everywhere - Academic Press, FL, 1988

Barr, Paul et al. CAD: Principles and Applications - Prentice-Hall, NJ, 1985

Barrett, A. N. & Mackay, A. L. Spatial Structure and its Applications - Macmillan England, London, 1987

Bartels, R., Beatty, J. & Barsky, B. An Introduction to Splines for Use in Computer Graphics and Geometric Modeling - Morgan Kaufman, CA, 1987

Beatty, J. C. & Booth, K. S. Tutorial: Computer Graphics - IEEE Computer Society, NY, 1982

Berger, Marc. Computer Graphics with Pascal - Benjamin-Cummings, CA, 1986

Bracewell, R. N. The Fourier Transform & Its Applications - McGraw-Hill, NY, 1987

Brown, M. D. & Heck, M. Understanding PHIGS - Template, CA, 1985

Carter, J. Computer Mapping: Progress in the 80’s - Association of American Geographers, Washington, D.C., 1984

Castleman, Kenneth R. Digital Image Processing - Prentice-Hall, NJ, 1979

Croft, Frank M. et al. Engineering Graphics - Wiley, NY, 1989

Demel, J. T. & Miller, M. J. Introduction to Computer Graphics - Brooks-Cole, CA, 1984

Dewey, Bruce. Computer Graphics for Engineers - Harper & Row, NY, 1987

Encarnacao, J. & Strasser, W. Computer Graphics

Enderle, G. et al. Computer Graphics Programming - Springer-Verlag, NY, 1987

Foley, J. D. & Van Dam, A. Fundamentals of Interactive Computer Graphics - Addison-Wesley, MA, 1982

Fuller, James E. Using AutoCAD 2.5 - Delmar, NC, 1986; Using VersaCAD - Delmar, NC, 1986

Guzilman, Vahe. Becoming an Amiga Artist - Scott-Forsman, IL, 1987

Hall, R. Illumination and Color in Computer Generated Imagery - Springer-Verlag, NY, 1989 COLLEGES AND UNIVERSITIES Bibliography page 187

Harrington, Steven. Computer Graphics: A Programming Approach, 2nd Edition - McGraw-Hill, NY, 1987

Hawkes, Barry. The CAD/CAM Process - Pitman, NC, 1987

Hearn, D. D. & Baker, M. P. Computer Graphics - Prentice-Hall, NJ, 1986

Joy, Kenneth I., Editor. Computer Graphics: Image Synthesis Tutorial - IEEE Computer Society, NY, 1988

Kerlow, Isaac & Rosebush, Judson. Computer Graphics for Designers and Artists - van Nostrand-Rinehold, NY, 1987

Mandelbrot, Benoit. The Fractal Geometry of Nature - Freeman, NY, 1982

Mantyla, Martti. Introduction to Solid Modeling - Computer Science Press, NY, 1988

Monmonier, M. S. Computer-Assisted Cartography: Principles and Prospects - Prentice-Hall, NJ, 1982

Mortenson, Michael E. Geometric Modeling - Wiley, NY, 1985

Myers, Roy E. Microcomputer Graphics - Addison-Wesley, MA, 1982

Newman, W. M. & Sproull, R. F. Principles of Interactive Computer Graphics, 2nd Edition - McGraw-Hill, NY, 1979

Park, Chan S. Interactive Microcomputer Graphics - Addison-Wesley, MA, 1985

Piegl, L. Geometric Modeling for CAD/CAM and Graphics - Lecture Notes, Locally Published

Pokorny, C. & Gerald, C. Computer Graphics - Franklin Beedle, CA, 1988

Rankin, John. Computer Graphics Software Construction - Prentice Hall, NJ, 1988

Rivlin, Robert. The Algorithmic Image - Microsoft, WA, 1986

Rogers, D. F. Procedural Elements for Computer Graphics - McGraw-Hill, NY, 1985

Rogers, D. F. & Adams, J. A. Mathematical Elements for Computer Graphics - McGraw-Hill, NY, 1976

Rogers, D. F. & Earnshaw, R. A. (eds). Techniques for Computer Graphics - Springer-Verlag, NY, 1987

Rosenfeld, A. & Kak, A. C. Digital Picture Processing, 2nd Edition - Academic Press, FL, 1982

Salmon, R. & Slater, M. Computer Graphics Systems & Concepts - Addison Wesley, MA, 1987

Schweizer. Infographie

Thalmann, D. Image Synthesis - Springer-Verlag, NY, 1985

Truckenbrod, J. Creative Computer Imaging - Prentice Hall, NJ, 1988

Wilson, Stephen. Using Computers to Create Art - Prentice-Hall, NJ, 1985 COMPANY STATISTICS

A picture of the entrance to the SIGGRAPH 1990 exhibitor floor. Each year exhibitors gather from around the world and create a showplace for state-of-the-art computer graphics. SECTION 5

COMPANY STATISTICS

LISTING BY COMPANY NAME 191 SIGGRAPH CAREER HANDBOOK page 190 COMPANY STATISTICS page 191

Advanced Technology Center AGE 22982 Mill Creek Drive 8765 Aero Drive, Suite 226 Laguna Hills, California 92653 San Diego, CA 92123

Contact Contact Dr. Sahib Dudani Charles Kimmel

Company Area of Interest Company Area of Interest Presentation Graphics, Systems Software, Systems Design, Systems Software, Systems Hard- Graphics Development Tools ware

Specific Computer Graphics Experience Desirable Specific Computer Graphics Experience Desirable Computer Graphics Fundamentals, Raster Graph- Computer Graphics Fundamentals, ics Techniques, Vector Graphics Techniques, 2D/ Raster Graphics Techniques, 3D Computer Graphics, Image Rendering Tech- 2D/3D Computer Graphics niques, Image Shading Techniques, Ray Tracing, Z-Buffer, Wireframe, Solid Geometry, Boundary Graphics Standards Experience Representation, Freeform Curves & Surfaces PHIGS, X Window System

Shading Principles Specific Computer Science Skills Desirable Constant Shading Languages Graphics Standards Experience C, Assembly GKS, CGM, PHIGS Operating Systems Specific Computer Science Skills Desirable Operating Systems in General, UNIX, DOS

Languages Principles C Software Engineering, Structured Software Design, Operating Systems Programming, Data Structures Operating Systems in General, UNIX, VMS Educational Levels Sought Principles B.S., B.A., B.F.A., M.S., M.F.A., Ph.D. Software Engineering, Structured Software Design, Programming, Data Structures Educational Background Desirable Liberal Arts, Business Administration, Engineer- Other Skills Desirable ing, General, Electrical Engineering, Computer Communications, Presentation, Management Science, Mathematics

Educational Levels Sought Types of Positions B.S., M.S. Full & Part time, Contractor, Consultant, Faculty Sabbatical Program Educational Background Desirable Computer Science, Mathematics

Types of Positions Full & Part time, Consultant SIGGRAPH CAREER HANDBOOK page 192

Alias Research Anderson University 110 Richmond Street East Box 2132 Toronto, Ontario, CANADA M5C 1P1 Anderson, Indiana 46012

Contact Contact Rita Silvan Susan Denoble Doherty

Company Area of Interest Company Area of Interest Art & Animation, CAD/CAM, CAE/CIM, Presen- Art and Animation, Advertising, Presentation tation Graphics, Simulation, Systems Design, Sys- Graphics, Image Processing tems Software, Video Specific Computer Graphics Experience Desirable Specific Computer Graphics Experience Desirable Raster Graphics Techniques, Video Graphics Tech- Raster Graphics Techniques, Video Graphics Tech- niques, Vector Graphics Techniques, 2D Com- niques, Vector Graphics Techniques, 2D/3D Com- puter Graphics, 2D Animation, Image Rendering puter Graphics, 2D/3D Animation, Image Render- Techniques, Image Shading Techniques ing Techniques, Image Shading Techniques, Z- Buffer, Wireframe, Spline Algorithms and Tech- Specific Computer Science Skills Desirable niques, Radiosity Principles Shading Principles Communications, Video Design, Constant, Gouraud, Phong 16-bit Microcomputer Systems Design Shading Other Skills Desirable Graphics Standards Experience Communications, Writing, Public Speaking, PHIGS, IGES Presentation, Layout Experience, Color Skills

Specific Computer Science Skills Desirable Educational Levels Sought B.S., B.A., B.F.A., M.S., M.A., M.F.A., Ph.D. Languages C, C++ Educational Background Desirable Operating Systems Art, Liberal Arts, Business Administration, Operating Systems in General, UNIX Computer Science Principles Software Engineering, Structured Software Types of Positions Design, Programming, Data Structures Part time, Student Co-op Program

Other Skills Desirable Communications, Writing, Public Speaking, Pre- sentation, Management, Traditional Animation

Educational Levels Sought B.A., M.A. Educational Background Desirable Art, General Engineering, Computer Science, Mathematics

Types of Positions Full & Part time, Student Co-op Program, Contractor, Faculty Sabbatical Program COMPANY STATISTICS page 193

Androx Corporation Full & Part time, Student Co-op Program 1515 Hancock St. Artronics, Inc. Quincy, MA 02169 300 Corporate Court South Plainfield, NJ 07080

Contact Philip Dunbar Contact Randy Klein Company Area of Interest Image Processing, Systems Design, Systems Soft- Company Area of Interest ware, Systems Hardware Animation Specific Computer Graphics Experience Desirable Presentation Graphics Computer Graphics Fundamentals, Raster Graph- ics Techniques, Video Graphics Techniques, Vec- Specific Computer Graphics Skills Required tor Graphics Techniques, 2D/3D Computer Graph- ics, 2D/3D Animation, Image Rendering Tech- Raster Graphics Techniques niques, Image Shading Techniques, Ray Tracing, Vector Graphics Techniques Spline Algorithms & Techniques, CAD/CAM/ Video Graphics Techniques CAE/CIM 2D/3D Computer Graphics Graphics Standards Experience 2D/3D Computer Animation CORE, GKS, CGM, CGI, PHIGS, NAPLPS, IGES Other Skills Desirable

Specific Computer Science Skills Desirable Communications Languages Writing AI Languages Management Operating Systems Personal Management Operating Systems in General, UNIX, DOS, VMS, MVS, MS DOS, OS/2 Principles Software Engineering, Hardware Engineer- ing, Communications, Digital Logical Design, Video Design, VLSI Design, ASIC Design, 8/ 16/32-bit Microcomputer Systems Design, Structured Software Design, Programming, Data Structures Other Skills Desirable Communications, Writing, Public Speaking, Pre- sentation, Management, Layout Experience

Educational Levels Sought B.S., B.A., B.F.A., M.S., M.A., M.F.A., Ph.D., Technical Institute Degree Educational Background Desirable Art, Liberal Arts, Business Administration, Me- chanical Engineering, Electrical Engineering, Gen- eral Engineering, Computer Science, Mathemat- ics, Physics

Types of Positions SIGGRAPH CAREER HANDBOOK page 194

ATARI Games Corporation Aztek Inc. P.O. Box 361110 15 Marconi Milpitas, CA 95035 Irvine, CA 92718

Contact Contact Human Resources, Sandi Brown Administrative Manager

Company Area of Interest Company Area of Interest Art & Animation, Simulation, Systems Design Art & Animation, Advertising, Image Processing, Systems Design Specific Computer Graphics Experience Desirable Computer Graphics Fundamentals, 2D/3D Com- Specific Computer Graphics Experience Desirable puter Graphics, 2D/3D Animation, Ray Tracing, Computer Graphics Fundamentals, Raster Graph- Z-Buffer, Solid Modeling, CAD ics Techniques, Video Graphics Techniques, Vec- tor Graphics Techniques, 2D Computer Graphics, Shading Principles 2D/3D Animation, Image Rendering Techniques, Constant, Gouraud Shading Image Shading Techniques, Ray Tracing, Bound- ary Representation, Freeform Curves & Surfaces, Specific Computer Science Skills Desirable Spline Algorithms & Techniques

Languages Shading Principles C, Assembly Gouraud, Phong Operating Systems Operating Systems in General, UNIX, VMS, Graphics Standards Experience MS DOS CORE, GKS, CGM, CGI, PHIGS, NAPLPS Principles Software Engineering, Hardware Engineer- Specific Computer Science Skills Desirable ing, Digital Logical Design, Video Design, Languages VLSI Design, ASIC Design, Bit-Slice Design, C, FORTRAN 77, Assembly Microcomputer Systems Design, 8/16/32-bit Operating Systems Microcomputer Systems Design, Structured UNIX, MS DOS, OS/2 Software Design, Programming, Data Struc- Principles tures, Real Time Systems Engineering, Software Engineering, Hardware Engineering, Microcomputer Sys- Other Skills Desirable tems Design, Structured Software Design, Pro- Communications, Writing, Presentation, Manage- gramming, Data Structures ment, Traditional Animation, Drafting Other Skills Desirable Educational Levels Sought Communications, Writing, Presentation, Graphics B.S., B.A., M.S., 2 Year Associates Degree Arts, Color, Traditional Animation

Educational Background Desirable Educational Levels Sought Art, Liberal Arts, Business Administration, B.S., 2 Year Associates Degree, Technical Institute Mechanical Engineering, Electrical Engineering, Degree General Engineering, Computer Science, Math- ematics, Physics Educational Background Desirable Art, Computer Science Types of Positions Full time, Part time Types of Positions Full & Part time, Consultant COMPANY STATISTICS page 195

BPC Byte by Byte Corporation Consult and Advise SC LTDA. 9442 Capital of Texas Hwy N., Suite 150 CX. POSTAL 64627 Austin, TX 78759 Sao Paulo, SP BRAZIL 05497

Contact Contact Jose Bernardo Lemos Tony Tomsy

Company Area of Interest Company Area of Interest Art & Animation, Advertising, CAD/CAM, CAE/ Art & Animation, Advertising, CAD/CAM, CAE/ CIM, Presentation Graphics, Image Processing CIM, Presentation Graphics, Simulation, Systems Design Specific Computer Graphics Experience Desirable Computer Graphics Fundamentals, Raster Graph- Specific Computer Graphics Experience Desirable ics Techniques, Video Graphics Techniques, Vec- Computer Graphics Fundamentals, Raster Graph- tor Graphics Techniques, 2D/3D Computer Graph- ics Techniques, Video Graphics Techniques, Vec- ics, 2D/3D Animation, Image Rendering Tech- tor Graphics Techniques, 2D/3D Computer Graph- niques, Image Shading Techniques, Wireframe, ics, 2D/3D Animation, Image Rendering Tech- Solid Modeling, Solid Geometry, Boundary Rep- niques, Image Shading Techniques, Ray Tracing, resentation, Freeform Curves & Surfaces, CAD/ Z-Buffer, Wireframe, Solid Modeling, Solid Ge- CAM ometry, Boundary Representation, Freeform Curves & Surfaces, Spline Algorithms & Techniques, CAD/ Shading Principles CAM/CAE/CIM Constant, Gouraud, Phong Shading Principles Graphics Standards Experience Constant, Gouraud, Phong CGM Graphics Standards Experience Specific Computer Science Skills Desirable CORE, GKS, CGM, CGI, PHIGS, NAPLPS, Languages IGES C, LISP Operating Systems Specific Computer Science Skills Desirable Operating Systems in General, UNIX, MS Languages DOS C, Assembly Principles Principles Digital Logical Design, Video Design, 16/32- Software Engineering, Video Design, 16/32- bit Microcomputer Systems Design, Program- bit Microcomputer Systems Design, ming Programming, Data Structures Other Skills Desirable Other Skills Desirable Communications, Writing, Public Speaking, Pre- Public Speaking, Management sentation, Management, Graphics Arts, Traditional Animation Educational Levels Sought B.S., B.A., 2 Year Associates Degree, Technical Educational Levels Sought Institute Degree B.S., M.S., Ph.D. Educational Background Desirable Educational Background Desirable Computer Science, Mathematics, Physics Art, Liberal Arts, Computer Science Types of Positions Types of Positions Full & Part time, Summer, Student Co-op Full & Part time, Summer, Student Co-op Program, Program Faculty Sabbatical Program SIGGRAPH CAREER HANDBOOK page 196

CSS Laboratories Digital Arts 1641 McGraw Ave 7050 Convoy Court Irvine, CA 92714 San Diego, CA 92111

Contact Contact James Chou; Tom Monroe, Marketing Sheldon Liebman

Company Area of Interest Company Area of Interest Systems Hardware Art & Animation, Systems Design

Specific Computer Science Skills Desirable Specific Computer Graphics Experience Desirable Computer Graphics Fundamentals, Raster Graph- Operating Systems ics Techniques, Video Graphics Techniques Operating Systems in General, UNIX, DOS, Vector Graphics Techniques, 2D/3D Computer MS DOS, OS/2 Graphics, 2D/3D Animation, Image Rendering Techniques, Image Shading Techniques, Solid Principles Modeling, Freeform Curves & Surfaces, Spline 8/16/32-bit Microcomputer Algorithms and Techniques Systems Design Shading Principles Other Skills Desirable Phong Communications, Writing, Management Specific Computer Science Skills Desirable Educational Levels Sought B.S., B.A., M.S., 2 Year Associates Degree, Languages Technical Institute Degree C, Assembly

Educational Background Desirable Operating Systems Business Administration, Electrical Engineering, UNIX, DOS General Engineering, Computer Science Principles Types of Positions Software Engineering, Structured Software Full time Design, Programming

Other Skills Desirable Communications, Writing, Traditional Animation

Educational Levels Sought B.S., M.S.

Educational Background Desirable Art, Computer Science, Mathematics

Types of Positions Consultant COMPANY STATISTICS page 197

Digital Vision Entertainment Dubner Computer Systems, Inc. 7080 Hollywood Blvd., Suite 901 6 Forest Ave. Los Angeles, CA 90028 Paramus, NJ 07652

Contact Contact Geoffrey de Valois JoAnn Amplo

Company Area of Interest Company Area of Interest Art & Animation, Advertising, Image Processing Art & Animation, Presentation Graphics, Image Processing, Systems Design, Systems Software Specific Computer Graphics Experience Desirable Video Graphics Techniques, 2D/3D Computer Specific Computer Graphics Experience Desirable Graphics, 2D/3D Animation, Image Rendering Computer Graphics Fundamentals, Raster Graph- Techniques, Image Shading Techniques, Ray Trac- ics Techniques, Video Graphics Techniques, ing, Z-Buffer, Wireframe Vector Graphics Techniques, 2D/3D Computer Graphics, 2D/3D Animation, Image Rendering Shading Principles Techniques, Image Shading Techniques, Ray Trac- Constant, Gouraud, Phong ing, Z-Buffer, Wireframe, Solid Modeling, Solid Geometry, Boundary Representation, Freeform Specific Computer Science Skills Desirable Curves & Surfaces, Spline Algorithms and Tech- niques Principles Shading Principles Software Engineering, Structured Software Constant, Gouraud, Phong Design, Programming, Video Design Specific Computer Science Skills Desirable Other Skills Desirable Languages Communications, Writing, Presentation, Manage- C, Assembly ment, Graphics Arts, Color, Traditional Animation Operating Systems UNIX Educational Levels Sought Principles B.S., B.A., B.F.A., M.S., M.A., M.F.A. Software Engineering, Hardware Engineer- ing, Digital Logical Design, Video Design, Educational Background Desirable Bit-Slice Design, Microcomputer Systems De- Art, Electrical Engineering, Computer Science, sign, 32-bit Microcomputer Systems Mathematics Design, Structured Software Design, Programming, Data Structures Types of Positions Other Skills Desirable Full & Part time, Contractor Communications, Writing, Management, Tradi- tional Animation Educational Levels Sought B.S., B.A., B.F.A., M.S., M.A., M.F.A., Ph.D., 2 Year Associates Degree, Technical Institute Degree Educational Background Desirable Art, Business Administration, Mechanical Engi- neering, Electrical Engineering, Computer Science, Mathematics

Types of Positions Full & Part time, Summer SIGGRAPH CAREER HANDBOOK page 198

Evans & Sutherland Computer Corporation GTCO Corporation 600 Komas Drive 7125 Riverwood Drive Salt Lake City, Utah 84108 Columbia, Maryland 21046

Contact Contact Alan K. Bakke; Human Resources Leslie Muller

Company Area of Interest Company Area of Interest CAD/CAM, CAE/CIM, Simulation, Image Pro- Art and Animation, Advertising, CAD/CAM, CAE/ cessing, Systems Design, Systems Hardware CIM, Presentation Graphics, Simulation, Image Processing, Systems Design, Systems Software, Specific Computer Graphics Experience Desirable Systems Hardware Computer Graphics Fundamentals, Raster Graph- ics Techniques, Vector Graphics Techniques, 2D/ Specific Computer Graphics Experience Desirable 3D Computer Graphics, 2D/3D Animation, Image Rendering Techniques, Image Shading Techniques, CAD Ray Tracing, Wireframe, Solid Modeling, Solid Geometry, Boundary Representation, Freeform Specific Computer Science Skills Desirable Curves & Surfaces, Spline Algorithms & Tech- niques, CAD, CAE Languages C, Assembly Shading Principles Constant, Gouraud, Phong Operating Systems Graphics Standards Experience Operating Systems in General GKS, PHIGS Other Skills Desirable Specific Computer Science Skills Desirable Software Engineering, Programming, Communi- Languages cations, Hardware Engineering, Digital Logical C, FORTRAN 77, ADA, LISP, Design, ASIC Design, 8-Bit Microcomputer Sys- PASCAL, Assembly tems Design Operating Systems Operating Systems in General, UNIX, VMS Non-Computer Skills Necessary to your Company Principles Communications, Writing, Management, Graph- Software Engineering, Hardware Engineer- ics Arts ing, Digital Logical Design, VLSI Design, ASIC Design, Bit-Slice Design, Structured Educational Levels Sought Software Design, Programming, Data Struc- B.S., B.A., 2 year Associates Degree, Technical tures Institute Degree

Other Skills Desirable Educational Background Desired Communications, Writing, Presentation, Graphics Liberal Arts, Business Administration, Mechani- Arts, Color cal Engineering, Engineering - General, Computer Science Educational Levels Sought B.S., B.A., M.S., M.A., Ph.D. Types of Positions Educational Background Desirable Electrical Engineering, Computer Science, Full time, Part time, Summer Mathematics Types of Positions Full time COMPANY STATISTICS page 199

Gretag Image Systems Hewlett-Packard Company 1301 Armstrong Drive Graphics Technology Division Titusville, Florida 32780 3404 E. Harmony Road Ft. Collins, Colorado 80525

Contact Contact Marcial Vidal Johnette Knaus, Site Staffing Manager Doug Scheiwe, MS 74 Company Area of Interest Simulation, Image Processing, Systems Design, Company Area of Interest Systems Hardware CAD/CAM, CAE/CIM, Presentation Graphics, Simulation, Image Processing, Systems Design, Specific Computer Graphics Experience Desirable Systems Software, Systems Hardware Raster Graphics Techniques, Video Graphics Tech- niques Specific Computer Graphics Experience Desirable Computer Graphics Fundamentals, Raster Graph- Graphics Standards Experience ics Techniques, Video Graphics Techniques, GKS, NAPLPS Vector Graphics Techniques, 2D/3D Computer Graphics, Image Rendering Techniques, Image Other Skills Desirable Shading Techniques, Ray Tracing, Z-Buffer, Analog Video Projection Equipment, DSP Wireframe, Solid Modeling, Freeform Curves & Surfaces, Spline Algorithms & Techniques, CAD/ Educational Levels Sought CAM/CAE/CIM B.S. Shading Principles Constant, Gouraud, Phong Educational Background Desirable Graphics Standards Experience None Listed CORE, GKS, CGM, CGI, PHIGS Specific Computer Science Skills Desirable Types of Positions Languages Full time C, FORTRAN 77, APL, PASCAL, Assembly Operating Systems Operating Systems in General, UNIX, VMS, DOS, MS DOS, OS/2 Principles Software Engineering, Hardware Engineer- ing, Communications, Digital Logical Design, Video Design, VLSI Design, ASIC Design, Microcomputer Systems Design, 8/16/32-bit Microcomputer Systems Design, Structured Software Design, Programming, Data Struc- tures Other Skills Desirable Communications, Writing, Public Speaking, Pre- sentation, Management Educational Levels Sought B.S., M.S., Ph.D. Educational Background Desirable Business Administration, Electrical Engineering, Computer Science, Mathematics, Physics Types of Positions Full & Part time, Summer, Student Co-op Program SIGGRAPH CAREER HANDBOOK page 200

Ikegami Electronics (USA), Inc. Integrated Computer Solutions 37 Brook Avenue 163 Harvard Street Maywood, New Jersey 07607 Cambridge, MA 02139

Contact Contact Raymond J. Sooley, Director Sarah Lummus Sales and Marketing Display Monitor Division Company Area of Interest CAD/CAM/CAE/CIM, Presentation Graphics, Sys- Company Area of Interest tems Software Peripherals Display Monitors Specific Computer Graphics Experience Desirable Computer Graphics Fundamentals Specific Computer Science Skills Desirable Hardware Engineering Graphics Standards Experience Mechanical Engineering GKS, PHIGS, X Window System & Extensions

Other Skills Desirable Specific Computer Science Skills Desirable Communications Writing, Presentation Languages Management C

Educational Background Desirable Operating Systems Mechanical Engineering, Operating Systems in General, UNIX, VMS Electrical Engineering General Engineering Principles Software Engineering, Programming, Data Types of Positions Structures Full time Other Skills Desirable Communications, Writing, Public Speaking, Pre- sentation, Training, Consulting

Educational Levels Sought B.S., M.S.

Educational Background Desirable Liberal Arts, General Engineering, Computer Sci- ence, Mathematics

Types of Positions Full time, Summer, Student Co-op Program COMPANY STATISTICS page 201

Intelligent Light, Inc. Intergraph Corporation P.O. Box 65 One Madison Industrial Park Fair Lawn, NJ 07410 Huntsville, Alabama 35807-4201

Contact Contact Jeanne Mara Beverly Staley, LR23B4

Company Area of Interest Company Area of Interest Art & Animation, CAD/CAM, CAE/CIM, Simu- Art & Animation, CAD/CAM, CAE/CIM, Presen- lation, Systems Software tation Graphics, Simulation, Image Processing, Systems Design, Systems Software, Systems Hard- Specific Computer Graphics Experience Desirable ware Computer Graphics Fundamentals, Raster Graph- Specific Computer Graphics Experience Desirable ics Techniques, Video Graphics Techniques, Computer Graphics Fundamentals, Raster Graph- Vector Graphics Techniques, 3D Animation, Im- ics Techniques, Video Graphics Techniques, Vec- age Rendering Techniques, Image Shading Tech- tor Graphics Techniques, 2D/3D Computer Graph- niques, Ray Tracing, Z-Buffer, Solid Modeling, ics, 2D/3D Animation, Image Rendering Tech- Solid Geometry, Boundary Representation, niques, Image Shading Techniques, Ray Tracing, Freeform Curves & Surfaces, Spline Algorithms & Z-Buffer, Wireframe, Solid Modeling, Solid Ge- Techniques, CAD, CAE ometry, Boundary Representation, Freeform Curves & Surfaces, Spline Algorithms & Techniques, CAD/ Shading Principles CAM/CAE/CIM Constant, Gouraud, Phong Shading Principles Graphics Standards Experience Constant, Gouraud, Phong PHIGS, DORE’ Graphics Standards Experience CORE, GKS, CGM, CGI, PHIGS, NAPLPS, Specific Computer Science Skills Desirable IGES, OSF/Motif (X Windows) Languages Specific Computer Science Skills Desirable C, FORTRAN 66, FORTRAN 77, PASCAL Languages Operating Systems C, AI Languages, Assembly Operating Systems in General, UNIX Operating Systems Principles Operating Systems in General, UNIX, VMS Software Engineering, Programming, Data Principles Structures Software/Hardware Engineering, Digital/ Other Skills Desirable Video/VLSI /ASIC Design, 32-bit Microcom- Communications, Writing, Public Speaking, Man- puter Systems Design, Structured S/W De- agement, Graphics Arts, Layout, Color, Tradi- sign, Programming, Data Structures tional Animation Other Skills Desirable Communications, Writing, Public Speaking, Pre- Educational Levels Sought sentation, Management, Graphics Arts, Layout B.S., B.A., Technical Institute Degree Experience, Color, Drafting Educational Background Desirable Educational Levels Sought Art, Liberal Arts, Business Administration, Me- B.S., M.S., Ph.D., 2 Year Associates Degree, Tech- chanical Engineering, General Engineering, Com- nical Institute Degree puter Science, Mathematics, Physics Educational Background Desirable Chemical/Civil/Mechanical/Elec. Engineering, Types of Positions Computer Science, Mathematics, Physics Full & Part time, Summer, Student Co-op Program, Types of Positions Contractor, Consultant, Faculty Sabbatical Pro- Full & Part time, Summer, Student Co-op Program, gram, Work Sharing Consultant SIGGRAPH CAREER HANDBOOK page 202

Ithaca Software James Grundar & Associates, Inc. 1001 Marina Village Parkway 5925 Beverly Alameda, CA 94501 Mission, KS 66202

Contact Contact Carol Lagerstrom James Grundar, President

Company Area of Interest Company Area of Interest Systems Software Advertising, Presentation Graphics, Image Processing, Systems Hardware Specific Computer Graphics Experience Desirable Computer Graphics Fundamentals, Raster Graph- Specific Computer Graphics Experience Desirable ics Techniques, Video Graphics Techniques, Vec- Video Graphics Techniques, CAD tor Graphics Techniques, 2D/3D Computer Graph- ics, Image Rendering Techniques, Image Shading Specific Computer Science Skills Desirable Techniques, Ray Tracing, Z-Buffer, Wireframe, Operating Systems in General, DOS Solid Modeling, Solid Geometry, Boundary Rep- resentation, Freeform Curves & Surfaces, Spline Other Skills Desirable Algorithms & Techniques Communications, Writing, Presentation

Shading Principles Educational Levels Sought Constant, Gouraud, Phong B.S., B.A., M.A.

Graphics Standards Experience Educational Background Desirable Other, unspecified Business Administration, Mechanical Engineer- ing, Electrical Engineering, General Engineering Specific Computer Science Skills Desirable Languages Types of Positions C Full time, Part time Operating Systems Operating Systems in General, UNIX, DOS, VMS, MVS, MS DOS, OS/2

Principles Software Engineering, Structured Software Design, Programming, Data Structures

Other Skills Desirable Communications, Writing

Educational Levels Sought B.S., B.A., M.S., Ph.D.

Educational Background Desirable Computer Science

Types of Positions Full time COMPANY STATISTICS page 203

Magni Systems, Inc. KMW Systems Corporation 9500 SW Gemini Drive 6034 West Courtyard Drive Beaverton, OR 97005 Austin, TX 78730-5014

Contact Contact Patricia Kostol, Administration Manager Sheryl Phillips or Personnel

Company Area of Interest Company Area of Interest Video Graphics Hardware Design Image Processing, Systems Design, Systems Soft- ware, Systems Hardware Specific Computer Graphics Experience Desirable Computer Graphics Fundamentals, Video Graph- Specific Computer Graphics Experience Desirable ics Techniques Computer Graphics Fundamentals, Raster Graph- ics Techniques, Vector Graphics Techniques, Specific Computer Science Skills Desirable Image Rendering Techniques, Image Shading Tech- niques, Z-Buffer, Spline Algorithms and Tech- Operating Systems niques, CAD MS DOS Specific Computer Science Skills Desirable Principles Software Engineering, Hardware Engineer- Languages ing, Video Design C, FORTRAN 66, FORTRAN 77, PASCAL, COBOL, SNOBOL, Assembly Other Skills Desirable Communications, Presentation, Traditional Operating Systems Animation UNIX, VMS

Educational Levels Sought Principles B.S., B.A., M.S., M.A. Software Engineering, Hardware Engineer- ing, Communications, Digital Logical Design, Educational Background Desirable Bit-Slice Design, Structured Software Design, Electrical Engineering, Computer Science Programming

Types of Positions Other Skills Desirable Full time Communications, Writing, Public Speaking, Pre- sentation, Management, Layout Experience, Draft- ing

Educational Levels Sought B.S., B.A., M.S., M.A., 2 Year Associates Degree, Technical Institute Degree

Educational Background Desirable Business Administration, Electrical Engineering, General Engineering, Computer Science, Mathematics

Types of Positions Full & Part time, Contractor, Work Sharing SIGGRAPH CAREER HANDBOOK page 204

Management Graphics, Inc. mental images 1401 E. 79th Street GmbH & Co. KG Minneapolis, MN 55425 Rankestrasse 9 D-1000 Berlin 30

Contact Contact Personnel Rolf Herken, President

Company Area of Interest Company Area of Interest Art & Animation, Advertising, Presentation Graph- Art & Animation, CAD/CAM, CAE/CIM, Simu- ics, Image Processing, Systems Design, Systems lation, Systems Design, Systems Software Software, Systems Hardware Specific Computer Graphics Experience Desirable Specific Computer Graphics Experience Desirable Computer Graphics Fundamentals, Raster Graph- 3D Computer Graphics, 3D Animation, Image ics/Video Graphics/Vector Graphics Techniques, Rendering Techniques, Freeform Curves and Sur- 2D/3D Computer Graphics, 2D/3D Animation, faces, CAD Image Rendering, Image Shading, Wireframe, Boundary Representation, Freeform Curves & Graphics Standards Experience Surfaces, Spline Algorithms & Techniques PHIGS, X Windows Shading Principles Constant, Gouraud, Phong Unique Skills Graphics Standards Experience Experienced Wavefront Software User, Experi- GKS, CGM, CGI, PHIGS ence Graphics Programmer Specific Computer Science Skills Desirable Languages Specific Computer Science Skills Desirable C, Assembly Operating Systems Languages Operating Systems in General, UNIX, VMS, C, C++, LISP MS DOS, OS/2, Apple Macintosh Finder Principles Operating Systems Software/Hardware Engineering, Digital Logi- UNIX cal/Video/VLSI/ASIC/Bit-Slice Design, 16/ 32-bit Microcomputer Systems Design, Struc- Principles tured Software Design, Programming, Data Software Engineering, Programming Structures, Graphics Processor Display Boards, Graphics Rasterizer Boards Other Skills Desirable Other Skills Desirable Graphics Arts, Color Communications, Writing, Public Speaking, Pre- sentation, Management, Graphics Arts, Layout Educational Levels Sought Experience, Color, Traditional Animation, Mar- M.S., Ph.D. keting, Sales, Telemarketing Educational Levels Sought Educational Background Desirable B.S., B.A., B.F.A., M.S., Ph.D., 2 Year Associates Art, Computer Science, Mathematics, Physics Degree, Technical Institute Degree Educational Background Desirable Types of Positions Art, Business Administration, Mechanical/Electri- Full time cal Engineering, Computer Science, Mathematics, Physics Types of Positions Full & Part time, Summer, Student Co-op Program, Contractor, Consultant COMPANY STATISTICS page 205

Mercury Computer Systems, Inc. Metheus Corporation 600 Suffolk Street 5510 N.E. Elam Young Parkway Lowell, MA 01854 Hillsboro, OR 97124

Contact Contact Personnel Karla Vecchiet

Company Area of Interest Company Area of Interest Image Processing, Systems Design, Systems Animation, CAD/CAM, CAE/CIM, Presentation Software Graphics, Simulation, Image Processing, Systems Design, Systems Software, Systems Hardware Specific Computer Science Skills Specific Computer Graphics Experience Desirable Computer Graphics Fundamentals, Raster Graph- Operating Systems in General ics Techniques, Video Graphics Techniques, Vec- tor Graphics Techniques, 2D/3D Computer Graph- Principles ics, 2D/3D, Animation, Image Rendering Tech- Software Engineering, 32-bit Microcomputer niques, Image Shading Techniques, Z-Buffer, Wire- Systems Design, Hardware Engineering Frame, Solid Modeling, Solid Geometry, Bound- ary Representation, Freeform Curves and Surfaces, Other Skills Desirable Spline Algorithms and Techniques, CAD/CAM/ Communications CAE/CIM Shading Principles Educational Levels Sought Constant, Gouraud, Phong B.S., M.S., Technical Institute Degree Graphics Standards Experience CORE, GKS, CGM, CGI, PHIGS Educational Background Desirable Specific Computer Science Skills Desirable Mechanical Engineering, Electrical Engineering, Languages General Engineering, Computer Science, Math- C, Assembly ematics Operating Systems Operating Systems in General, UNIX, VMS Types of Positions Principles Full time, Summer, Student Co-op Program, Software Engineering, Hardware Engineer- Consultant ing, Digital Logical Design, ASIC Design, Bit-Slice Design, 8/16/32-bit , Microcomputer Systems Design, Structured Software Design, Programming, Data Structures Other Skills Desirable Communications, Writing, Public Speaking, Pre- sentation, Management, Graphics Arts, Layout Experience, Color, Drafting

Educational Levels Sought B.S., M.S. Educational Background Desirable Business Administration, Mechanical Engineer- ing, Electrical Engineering, Enginerring, General, Computer Science Types of Positions Full & Part time, Summer, Student Co-op Program, Contractor, Consultant SIGGRAPH CAREER HANDBOOK page 206

Microfield Graphics, Inc. Monitronix Inc. 9825 S.W. Sunshine Ct., A-1 929 Eastwind Drive, Suite 220 Beaverton, OR 97005 Westerville, Ohio 43081

Contact Contact Karen Wilson Linda Chamberlain

Company Area of Interest Company Area of Interest CAD/CAM, CAE/CIM, Systems Design, Systems Systems Hardware Software, Systems Hardware Specific Computer Science Skills Desirable Specific Computer Graphics Experience Desirable Computer Graphics Fundamentals, Raster Graph- Principles ics Techniques, Video Graphics Techniques, Vec- Hardware Engineering tor Graphics Techniques, 2D/3D Computer Graph- ics, Image Rendering Techniques, Z-Buffer, Other Skills Desirable Wireframe, Boundary Representation, Freeform Communications, Writing, Presentation, Curves & Surfaces, Spline Algorithms and Tech- Management, Drafting niques, CAD, CAE, CIM Educational Levels Sought Shading Principles B.S., M.S., Ph.D., Technical Institute Degree Constant, Gouraud, Phong Graphics Standards Experience Educational Background Desirable CGI, PHIGS, X Windows, Motif Business Administration, Electrical Engineering, General Engineering Specific Computer Science Skills Desirable Languages Types of Positions C, FORTRAN 77, Assembly Full time, Part time Operating Systems UNIX, MS DOS, OS/2 Principles Software Engineering, Hardware Engineer- ing, Communications, Digital Logical Design, Video Design, VLSI Design, ASIC Design, Bit-Slice Design, Microcomputer Systems Design, 16/32-bit Microcomputer Systems Design, Programming, Data Structures

Other Skills Desirable Communications, Writing, Presentation, Manage- ment, Graphics Arts,Color

Educational Levels Sought B.S., M.S., Ph.D., Technical Institute Degree Educational Background Desirable Electrical Engineering, Computer Science, Math- ematics, Physics

Types of Positions Full & Part time, Contractor, Consultant COMPANY STATISTICS page 207

NASA Nth Graphics Goddard Space Flight Center 1807-C West Braker Lane Greenbelt, MD 20771 Austin, Texas 78758

Contact Contact Personnel Management Branch, Code 111 Dr. Fred Hudson

Company Area of Interest Company Area of Interest Presentation Graphics, Image Processing, Systems CAD/CAM/CAE, Image Processing, Systems Soft- Design, Systems Software, Scientific Visualiza- ware, Systems Hardware, Scientific Visualization tion Specific Computer Graphics Experience Desirable Specific Computer Graphics Experience Desirable Computer Graphics Fundamentals, Raster Graph- Raster Graphics Techniques, Vector Graphics Tech- ics Techniques, 2D/3D Computer Graphics, Image niques, 2D/3D Computer Graphics, Image Render- Rendering Techniques, Image Shading Techniques, ing Techniques, Image Shading Techniques, Ray Ray Tracing, Z-Buffer, Wireframe, Solid Model- Tracing, Wireframe, Solid Modeling, Solid Geom- ing, Solid Geometry, Boundary Representation, etry, Volumetric Rendering Freeform Curves & Surfaces, Spline Algorithms & Techniques Shading Principles Constant, Gouraud, Phong Shading Principles Constant, Gouraud, Phong, Alpha Blending Graphics Standards Experience CORE, PHIGS, Other Graphics Standards Experience PHIGS, HOOPS, GL Specific Computer Science Skills Desirable Specific Computer Science Skills Desirable Languages Languages C, C++, FORTRAN 77, C, Assembly, X-Windows Operating Systems Operating Systems Operating Systems in General, UNIX, VMS Operating Systems in General, PM Principles Software Engineering, Structured Software Principles Design, Programming, Data Structures, Software Engineering, Hardware Engineer- DBMS, Numerical/Statistical Analysis ing, Structured Software Design, Program- ming, Data Structures Other Skills Desirable Communications, Writing, Earth and Space Other Skills Desirable Sciences, Physics, Mathematics Communications, Writing, Management

Educational Levels Sought Educational Levels Sought B.S., M.S., Ph.D. B.S., M.S.

Educational Background Desirable Educational Background Desirable Electrical Engineering, General Engineering, Com- Electrical Engineering, Computer Science puter Science, Mathematics, Physics Types of Positions Types of Positions Full time Full & Part time, Summer, Student Co-op Program, Contractor University of Oldenburg SIGGRAPH CAREER HANDBOOK page 208

P.O. Box 2503 1734 W. Sam Houston Parkway N. D-2900 Oldenburg West Germany Houston, Texas 77043

Contact Contact Professor P.H. Gorny, Ph.D. Anthony G. Masraff Computer Graphics Group Company Area of Interest Company Area of Interest Systems Design, Systems Software, Systems Hard- CAD/CAM/CAE/CIM, Presentation Graphics, ware Simulation, Image Processing, Systems Design, Systems Software Shading Principles Constant, Gouraud, Phong Specific Computer Graphics Experience Desirable Computer Graphics Fundamentals, Raster Graph- Graphics Standards Experience ics Techniques, Vector Graphics Techniques, 2D/ GKS, CGI, PHIGS, X-Windows 3D Computer Graphics, 2D Animation, Image Rendering Techniques, Image Shading Techniques, Specific Computer Science Skills Desirable Ray Tracing, Solid Modeling, Solid Geometry, Languages Boundary Representation, Freeform Curves & C, Assembly Surfaces, Spline Algorithms and Techniques Operating Systems Graphics Standards Experience UNIX GKS, PHIGS

Specific Computer Science Skills Desirable Principles Software Engineering, Hardware Engineer- Languages ing, Digital Logical Design, Video Design C, LISP, PASCAL Other Skills Desirable Operating Systems Communications, Management Potential UNIX, DOS, VMS, MS DOS, OS/2 Educational Levels Sought Principles B.S., M.S. Structured Software Design, Programming, Data Structures Educational Background Desirable Electrical Engineering, Computer Science Other Skills Desirable Communications, Writing, Public Speaking, Pre- Types of Positions sentation, Layout Experience, Color Full time Pansophic Systems, Inc. Educational Levels Sought M.S.

Educational Background Desirable Electrical Engineering, General Engineering, Com- puter Science, Mathematics, Psychology

Types of Positions Full time, Part time Omnicomp Graphics Corporation COMPANY STATISTICS page 209

2400 Cabot Drive Perceptics Corporation Lisle, IL 60532 P.O. Box 22991 725 Pellissippi Center Knoxville, TN 37933-0991 Contact Ron Gruenberg Contact Jim Disney Company Area of Interest Art & Animation, Presentation Graphics, Image Company Area of Interest Processing, Systems Design Image Processing, Systems Design, Pattern Rec- ognition, Artificial Intelligence, Optical Mass Stor- Specific Computer Graphics Experience Desirable age, Image Management Systems Computer Graphics Fundamentals, Raster Graph- ics Techniques, Video Graphics Techniques, Specific Computer Graphics Experience Desirable Vector Graphics Techniques, 2D/3D Computer Computer Graphics Fundamentals, Video Graph- Graphics, 2D/3D Animation, Image Rendering ics Techniques, Vector Graphics Techniques, 2D Techniques, Image Shading Techniques, Z-Buffer, Computer Graphics Wireframe, Spline Algorithms & Techniques Shading Principles Shading Principles Constant Shading Phong Specific Computer Science Skills Desirable Graphics Standards Experience GKS, CGM, IGES Languages C, FORTRAN, PASCAL, PROLOGUE, Specific Computer Science Skills Desirable Assembly Languages C, LISP, COBOL, Assembly Operating Systems Operating Systems Operating Systems in General, UNIX, VMS, Operating Systems in General, UNIX, DOS, MAC OS, SUN/SUN OS MS DOS, OS/2 Principles Principles Video Design, Structured Software Design, Software Engineering, Digital Logical De- Programming sign, 16/32-bit Structured Software Design, Data Structures Other Skills Desirable Communications, Writing, Public Speaking, Pre- Other Skills Desirable sentation, Management, Graphics Arts, Layout Communications, Writing, Public Speaking, Pre- Experience, Color, Traditional Animation sentation, Management, Graphics Arts, Layout Experience, Color, Drafting Educational Levels Sought B.S., B.A., B.F.A. Educational Levels Sought B.S., M.S., Ph.D., 2 Year Associates Degree, Tech- Educational Background Desirable nical Institute Degree Art, Liberal Arts, Electrical Engineering, General Engineering, Computer Science Educational Background Desirable Electrical Engineering, Computer Science Types of Positions Full time Types of Positions Full time and Part time, Summer, Contractor, Consultant SIGGRAPH CAREER HANDBOOK page 210

Pontificia Universidade Catolica do Rio de Janeiro Design The Post Group Rua Marques de Sao Vincente 6335 Homewood Avenue 225 - D.Artes, Gavea Rio de Janeiro, RJ Hollywood, CA 90028 22453 Brasil

Contact Contact Ricardo Richers Joe Gareri, Graphics Department

Company Area of Interest Company Area of Interest Art & Animation, CAD/CAM, CAE/CIM, Presen- Art & Animation, Image Processing, Systems tation Graphics, Simulation, Image Processing Design, Systems Software

Specific Computer Graphics Experience Desirable Specific Computer Graphics Experience Desirable Computer Graphics Fundamentals, Video Graph- Computer Graphics Fundamentals, Video Graph- ics Techniques, 2D/3D Computer Graphics, 2D/ ics Techniques, 2D/3D Computer Graphics, 2D/ 3D Animation, Image Rendering Techniques, Im- 3D Animation, Image Rendering Techniques, Solid age Shading Techniques, Wireframe, Solid Model- Modeling ing, Solid Geometry, CAD Unique Skills Graphics Standards Experience GKS Art Direction, Project Planning and Coordina- tion, Quantel Paintbox, Wavefront Technologies, Specific Computer Science Skills Desirable Silicon Graphics, Video Production Operations

Languages Specific Computer Science Skills Desirable C, PASCAL, COBOL Languages Operating Systems C, PASCAL MS DOS Operating Systems Principles UNIX, HP RTE-A Programming, Communications Principles Other Skills Desirable Software Engineering, Structured Software Communications, Graphics Arts, Layout Experi- Design, Programming, Data Structures ence, Color, Traditional Animation Other Skills Desirable Educational Levels Sought Communications, Writing, Presentation, Manage- B.S., B.A. ment, Graphics Arts, Color, System assembly from off the shelf components Educational Background Desirable Art, Liberal Arts, Computer Science Educational Levels Sought B.S., B.A., B.F.A., M.S., M.A., M.F.A. Types of Positions Part time, Student Co-op Program, Consultant Educational Background Desirable Art, Computer Science, Mathematics, Physics

Types of Positions Full time & Part time, Summer, Student Co-op Program, Contractor, Consultant COMPANY STATISTICS page 211

PRIOR Data Sciences Production Samboo 240 Michael Cowpland Drive 78-9-10 Chungdam-Dong Kangnam-Gu Kananta, Ontario K2M 1P6 Seoul, KOREA

Contact Contact Personnel Kocoa Lab

Company Area of Interest Company Area of Interest Systems Software Art & Animation, Advertising

Specific Computer Graphics Experience Desirable Specific Computer Science Skills Desirable Computer Graphics Fundamentals, Vector Graph- ics Techniques Languages C Graphics Standards Experience GKS, CGM, PHIGS Principles Video Design Specific Computer Science Skills Desirable Educational Levels Sought Languages M.A., Technical Institute Degree C Educational Background Desirable Operating Systems Art UNIX, VMS Types of Positions Principles Part time, Summer Software Engineering, Structured Software Design, Programming

Other Skills Desirable Communications, Writing

Educational Levels Sought B.S., M.S.

Educational Background Desirable Computer Science, Mathematics

Types of Positions Full time, Student Co-op Program SIGGRAPH CAREER HANDBOOK page 212

QMS, Inc. Sigmasoft and Systems One Magnum Pass 17000 Dallas Parkway, Suite 207 Mobile, AL 36618 Dallas, TX 75248

Contact Contact Human Resources Department Clay D. Montgomery

Company Area of Interest Company Area of Interest Advertising, CAD/CAM, CAE/CIM, Presentation CAD/CAM, CAE/CIM, Simulation, Image Pro- Graphics, Image Processing, Systems Design, Sys- cessing, Systems Design, Systems Software, Sys- tems Software, Systems Hardware tems Hardware

Specific Computer Graphics Experience Desirable Specific Computer Graphics Experience Desirable Computer Graphics Fundamentals, Raster Graph- Computer Graphics Fundamentals, Raster Graph- ics Techniques, Video Graphics Techniques, Vec- ics Techniques, Video Graphics Techniques, 2D/ tor Graphics Techniques, 2D Animation, Image 3D Computer Graphics, Z-Buffer, Wireframe, Rendering Techniques, Image Shading Techniques, Spline Algorithms & Techniques, CAD CAD/CAM/CAE Graphics Standards Experience Specific Computer Science Skills Desirable CGM, CGI, PHIGS Languages C, Assembly Specific Computer Science Skills Desirable Operating Systems UNIX, DOS, VMS, MS DOS, OS/2 Languages Principles C, Assembly Software Engineering, Hardware Engineer- ing, Digital Logical Design, Video Design, Operating Systems VLSI Design, ASIC Design, Bit-Slice Design, Operating Systems in General, UNIX, DOS, Microcomputer Systems Design, 8/16/32-bit MS DOS, CP/M 68K Microcomputer Systems Design, Structured Software Design, Programming, Data Struc- Principles tures Software Engineering, Hardware Engineer- ing, Digital Logical Design, Video Design, Other Skills Desirable ASIC Design, Bit-Slice Design, Microcom- Communications, Writing, Presentation, Manage- puter Systems Design, 32-bit Microcomputer ment, Graphics Arts, Layout Experience, Color, Systems Design, Structured Software Design, Drafting, Technical Illustration, Technical Writing Programming, Data Structures

Educational Levels Sought Other Skills Desirable B.S., B.A., B.F.A., M.S., M.A., Ph.D., Technical Communications, Writing, Presentation, Techni- Institute Degree cal Sales

Educational Background Desirable Educational Background Desirable Art, Liberal Arts, Business Administration, Elec- Computer Science, Mathematics trical Engineering, General Engineering, Computer Science, Mathematics, Physics Types of Positions Full & Part time, Contractor, Consultant Types of Positions Full time COMPANY STATISTICS page 213

SOFTIMAGE Inc. SOGITEC Paris 3510 boul. St-Laurent, Suite 214 32 Boulevard De La Republique Montreal, Quebec H2X2V2 CANADA 92100 Boulogne, FRANCE

Contact Contact Personnel Stephane Metz, Dominique Tain

Company Area of Interest Company Area of Interest Systems Software Art & Animation, Advertising, CAD/CAM, CAE/ CIM, Flight Simulation, Real Time Systems Soft- Specific Computer Graphics Experience Desirable ware, Real Time Systems Hardware Raster Graphics Techniques, Video Graphics Tech- niques, 2D/3D Computer Graphics, 3D Anima- Specific Computer Graphics Experience Desirable tion, Image Rendering Techniques, Image Shading Raster Graphics Techniques, Video Graphics Tech- Techniques, Ray Tracing, Z-Buffer, Wireframe, niques, 2D/3D Computer Graphics, 3D Anima- Solid Modeling, Spline Algorithms & Techniques, tion, Image Rendering Techniques, Z-Buffer, CAD, CAD CAM

Shading Principles Specific Computer Science Skills Desirable Constant, Gouraud, Phong Languages Graphics Standards Experience C, Assembly IGES Operating Systems Specific Computer Science Skills Desirable UNIX

Languages Principles C Software Engineering, Hardware Engineer- ing, 32-bit Microcomputer Systems Design, Operating Systems Structured Software Design UNIX Other Skills Desirable Principles Graphic Arts Software Engineering, Programming Educational Background Desirable Other Skills Desirable Art Communications, Writing, Traditional Animation Types of Positions Educational Levels Sought Full time, Part time B.S., M.S.

Educational Background Desirable Business Administration, Computer Science

Types of Positions Full time, Contractor SIGGRAPH CAREER HANDBOOK page 214

StereoGraphics Corporation SummaGraphics Corporation 2171-H E. Francisco Blvd. 60 Silvermine Road San Rafael, CA 94901 Seymour, CT 06483

Contact Contact Dave Holbrook, Director of Marketing Susan Burns

Company Area of Interest Company Area of Interest Art & Animation, CAD/CAM, CAE/CIM, Simu- Art & Animation, CAD/CAM/ CAE/CIM, Presen- lation, Image Processing, Systems Design, Sys- tation Graphics tems Software, Systems Hardware Specific Computer Graphics Experience Desirable Specific Computer Graphics Experience Desirable Computer Graphics Fundamentals, CAD/CAM/ Computer Graphics Fundamentals, Raster Graph- CAE/CIM ics Techniques, Video Graphics Techniques, Vec- tor Graphics Techniques, 3D Computer Graphics, Specific Computer Science Skills Desirable 3D Animation, Image Rendering Techniques, Im- age Shading Techniques, Ray Tracing, Z-Buffer, Operating Systems Wireframe, Solid Modeling, Solid Geometry, Operating Systems in General, UNIX, DOS, Boundary Representation, Freeform Curves & MS DOS, OS/2 Surfaces, Spline Algorithms & Techniques, Stereo Imaging and Interface, CAD/CAM/CAE/CIM Principles Software Engineering, Hardware Engineer- Shading Principles ing, Bit-Slice Design, 8/16/32-bit Microcom- Constant, Gouraud, Phong puter Systems Design, Programming, Com- Graphics Standards Experience munications CORE, GKS, CGM, CGI, PHIGS, NAPLPS, IGES, X, Motif, NextStop Other Skills Desirable Communications, Writing, Presentation, Manage- Specific Computer Science Skills Desirable ment, Drafting Languages C, C++, Assembly Educational Levels Sought Operating Systems B.S., B.A., B.F.A., M.S., M.A., M.F.A., Ph.D., 2 UNIX, MS DOS, Macintosh Year Associates Degree, Technical Institute De- Principles gree Software Engineering, Hardware Engineer- ing, Video Design, 16/32-bit Microcomputer Educational Background Desirable Systems Design, Structured Software Design, Business Administration, Mechanical Engineer- Programming, Data Structures ing, Electrical Engineering, General Engineering, Computer Science, Mathematics Other Skills Desirable Communications, Writing, Public Speaking, Pre- Types of Positions sentation, Graphics Arts Full & Part time, Contractor, Consultant

Educational Levels Sought B.S. Educational Background Desirable Computer Science Types of Positions Full & Part time, Consultant COMPANY STATISTICS page 215

Thomson Digital Image Tech-Source 22 rue Heyersippe Moreau 442 S. North Lake Blvd., Suite 1008 Paris, FRANCE 75018 Altamonte Springs, FL 32701

Contact Contact Michael Tobias Company Area of Interest Company Area of Interest Art & Animation, CAD/CAM, CAE/CIM, Systems Hardware Systems Design

Specific Computer Graphics Experience Desirable Specific Computer Graphics Experience Desirable Computer Graphics Fundamentals, Raster Graph- Computer Graphics Fundamentals, Raster Graph- ics Techniques, 2D/3D Computer Graphics, Image ics Techniques, Video Graphics Techniques, 3D Rendering Techniques Computer Graphics, 3D Animation, Image Ren- dering Techniques, Image Shading Techniques, Graphics Standards Experience Ray Tracing, Z-Buffer, Solid Modeling, Solid Ge- GKS, PHIGS, X Windows ometry, Boundary Representation, Freeform Curves & Surfaces, Spline Algorithms & Techniques, CAD Specific Computer Science Skills Desirable Shading Principles Languages Constant, Gouraud, Phong C, Assembly Graphics Standards Experience Operating Systems PHIGS, IGES UNIX Specific Computer Science Skills Desirable Principles Software Engineering, Hardware Engineer- Languages ing, Video Design, VLSI Design, ASIC De- C sign, Bit-Slice Design, Structured Software Design, Programming, Data Structures Operating Systems UNIX Other Skills Desirable Communications, Writing, Management Principles Software Engineering, Structured Software Educational Levels Sought Design, Programming, Data Structures B.S., M.S. Other Skills Desirable Educational Background Desirable Communications, Management, Traditional Ani- Mechanical Engineering, Electrical Engineering, mation Computer Science, Mathematics Educational Background Desirable Types of Positions Computer Science Full time Types of Positions Full time, Student Co-op Program SIGGRAPH CAREER HANDBOOK page 216

Time Arts Inc. TOSHIBA America Electronic Components, Inc. 1425 Corporate Center Parkway One Parkway North, Suite 500 Santa Rosa, CA 95407 Deerfield, IL 60015-2547

Contact Contact Scott A. Gross Jill MacFayden Vice President of Engineering Company Area of Interest Company Area of Interest None listed Art & Animation, Advertising, CAD/CAM, CAE/ CIM, Presentation Graphics, Simulation, Image Specific Computer Graphics Experience Desirable Processing, Systems Software None listed

Specific Computer Graphics Experience Desirable Specific Computer Science Skills Desirable Computer Graphics Fundamentals, Raster Graph- None listed ics Techniques, Video Graphics Techniques, Vec- tor Graphics Techniques, 2D/3D Computer Graph- Other Skills Desirable ics, 2D/3D Animation, Image Rendering Tech- Communications, Public Speaking, Presentation, niques, Image Shading Techniques, Ray Tracing, Management Wireframe, Solid Modeling, Solid Geometry, Boundary Representation, Freeform Curves & Educational Levels Sought Surfaces, Spline Algorithms & Techniques, CAD, B.S., B.A., M.B.A. I/O Device Support Shading Principles Educational Background Desirable Constant, Gouraud, Phong Electrical Engineering, General Engineering Graphics Standards Experience GKS, PHIGS Types of Positions Full time Specific Computer Science Skills Desirable Languages C, Assembly Operating Systems Operating Systems in General, UNIX, DOS, MS DOS, MAC OS Principles Software Engineering, Structured Software Design, Programming, Data Structures

Other Skills Desirable Communications, Writing, Management, Graph- ics Arts, Layout Experience,Color, Traditional Animation

Educational Levels Sought B.S., M.S. Educational Background Desirable Art, Computer Science, Mathematics, Physics

Types of Positions Full time COMPANY STATISTICS page 217

Vectrix Corporation Vertigo Systems International, Inc. 204 So. Olive 221 - 119 W. Pender Street Rolla, MO 65401 Vancouver, B.C. V6B 1S5 CANADA

Contact Contact Personnel Wendy Wright

Company Area of Interest Company Area of Interest Systems Design, Systems Software, Systems Hard- Animation, Solid Modeling, Image Processing, ware Systems Design, Systems Software, Systems Hard- ware Specific Computer Graphics Experience Desirable Computer Graphics Fundamentals, Raster Graph- Specific Computer Graphics Experience Desirable ics Techniques, Video Graphics Techniques, 2D/ Computer Graphics Fundamentals, Raster Graph- 3D Image Rendering Techniques, Image Shading ics Techniques, Video Graphics Techniques, Vec- Techniques, Ray Tracing, Z-Buffer, Wireframe, tor Graphics Techniques, 2D/3D Computer Graph- Solid Modeling, Solid Geometry, Boundary Rep- ics, 2D/3D Animation, Image Rendering Tech- resentation, Freeform Curves & Surfaces niques, Image Shading Techniques, Ray Tracing, Z-Buffer, Wire-Frame, Solid Modeling, Freeform Graphics Standards Experience Curves and Surfaces, Spline Algorithms and Tech- CGI, TIGA, PHIGS, HOOPS niques

Specific Computer Science Skills Desirable Shading Principles Constant, Gouraud, Phong Languages Graphics Standards Experience C, Assembly CORE, GKS

Operating Systems Specific Computer Science Skills Desirable Operating Systems in General Languages C, Assembly Principles Operating Systems Software Engineering, Video Design, Bit-Slice Operating Systems in General, UNIX Design, 16/32-bit Microcomputer Systems Principles Design, Programming Software Engineering, Hardware Engineer- ing, 32-bit, Microcomputer Systems Design, Other Skills Desirable Structured Software Design, Programming, Communications, Management Data Structures, Frame Buffer/Video Design, Multiprocessing Architecture Educational Levels Sought B.S., M.S. Other Skills Desirable Communications, Writing, Management, Graph- Educational Background Desirable ics Arts, Traditional Animation Electrical Engineering, Computer Science Educational Levels Sought Types of Positions B.S., B.A., M.S., Ph.D., Technical Institute Degree Full time Educational Background Desirable Art - all forms, Electrical Engineering, Computer Science, Mathematics, Physics

Types of Positions SIGGRAPH CAREER HANDBOOK page 218

Full time, Student Co-op Program, Consultant Viewpoint Animation Engineering Videosmith, Inc. 140 S. Mountainway 2006 Chancellor Street Orem, Utah 84058 Philadelphia, PA 19103

Contact Contact John Thomas Pat Crowley Company Area of Interest Company Area of Interest Art & Animation, Presentation Graphics, Systems Art & Animation, Advertising Software, Systems Hardware

Specific Computer Graphics Experience Desirable Specific Computer Graphics Experience Desirable Computer Graphics Fundamentals, Raster Graph- Computer Graphics Fundamentals, Video Graph- ics Techniques, Video Graphics Techniques, 2D ics Techniques, 2D Computer Graphics, 3D Ani- and 3D Computer Graphics, Wireframe, Solid mation, Image Rendering Techniques, Image Shad- Modeling ing Techniques, Ray Tracing, Wireframe, Freeform Curves & Surfaces, Spline Algorithms & Tech- Shading Principles niques, Digitizing Techniques Gouraud, Phong Specific Computer Science Skills Desirable Specific Computer Science Skills Desirable Languages Languages C, FORTRAN 77 C Operating Systems Other Skills Desirable Operating Systems in General, UNIX Communications, Writing, Public Speaking, Graph- ics Arts, Color Other Skills Desirable Communications, Presentation, Management, Unique Skills Graphics Arts Video Technology 1" Beta Tape Formats Educational Levels Sought Ability to Read Waveforms and Vector Scopes B.S., B.A.

Educational Levels Sought Educational Background Desirable B.A., 2 Year Associates Degree Art, Business Administration, General Engineer- ing, Computer Science Educational Background Desirable Art, Liberal Arts, Computer Science, Mathematics Types of Positions Full & Part time, Summer, Student Co-op Program, Types of Positions Contractor, Consultant, Work Sharing Full time, Part time COMPANY STATISTICS page 219

Visual Information Technologies Wasatch Computer Technology, Inc. 3460 Lotus Drive 123 East 2nd Street Plano, TX 75075 Salt Lake City, Utah 84111

Contact Contact Lourdes Romero Mary Ware

Company Area of Interest Company Area of Interest Image Processing, Systems Design, Systems Soft- Presentation Graphics, Systems Hardware ware, Systems Hardware Specific Computer Graphics Experience Desirable Specific Computer Graphics Experience Desirable Raster Graphics Techniques, Video Graphics Tech- Computer Graphics Fundamentals, Raster Graph- niques, Vector Graphics Techniques, 2D/3D Com- ics Techniques, Video Graphics Techniques, puter Graphics Vector Graphics Techniques, 2D/3D Computer Graphics, 2D/3D Animation, Image Rendering Shading Principles Techniques, Image Shading Techniques, Ray Trac- Gouraud, Phong ing, Z-Buffer, Wireframe, Image Processing Graphics Standards Experience Shading Principles CGM Gouraud Shading Specific Computer Science Skills Desirable Specific Computer Science Skills Desirable Languages Languages C C, C++ Operating Systems Operating Systems Operating Systems in General Operating Systems in General, UNIX Principles Principles Software Engineering, Hardware Engineering Software Engineering, Hardware Engineer- ing, Video Design, VLSI Design, ASIC De- Other Skills Desirable sign, 32-bit Microcomputer Systems Design, Communications, Writing, Management, Graphics Structured Software Design, Programming Arts, Layout Experience, Color, Drafting

Other Skills Desirable Educational Levels Sought Communications, Writing, Public Speaking, B.S., B.A., B.F.A. Presentation, Management Educational Background Desirable Educational Levels Sought Art, Liberal Arts, Business Administration, B.S., M.S. Computer Science, Mathematics

Educational Background Desirable Types of Positions Electrical Engineering, Computer Science, Full time, Summer, Student Co-op Program Mathematics

Types of Positions Full & Part time, Student Co-op Program, Contractor, Consultant SIGGRAPH CAREER HANDBOOK page 220

Wavefront Technologies W.W. Gaertner Research Inc. 530 E. Montecito Street 140 Water Street Santa Barbara, CA 93103 Norwalk, CT 06854

Contact Contact Janice Whitmer-Howell Lisa Keegan

Company Area of Interest Company Area of Interest Art & Animation, Advertising, Simulation Simulation, Image Processing, Systems Design, Systems Software, Systems Hardware Specific Computer Graphics Experience Desirable Computer Graphics Fundamentals, Raster Graph- Specific Computer Graphics Experience Desirable ics Techniques, Video Graphics Techniques, 2D/ Computer Graphics Fundamentals, Raster Graph- 3D Computer Graphics, 2D/3D Animation, Image ics Techniques, Video Graphics Techniques, Vec- Rendering Techniques, Image Shading Techniques, tor Graphics Techniques, 2D/3D Computer Graph- Ray Tracing, Z-Buffer, Wireframe, Solid Geom- ics, Image Rendering Techniques, Z-Buffer, Solid etry, Boundary Representation, Freeform Curves Modeling, Solid Geometry, Spline Algorithms & & Surfaces, Spline Algorithms & Techniques Techniques

Shading Principles Shading Principles Constant, Gouraud, Phong Constant, Gouraud, Phong

Graphics Standards Experience Graphics Standards Experience IGES PHIGS

Specific Computer Science Skills Desirable Specific Computer Science Skills Desirable Languages Languages FORTRAN 66, FORTRAN 77, LISP C Operating Systems Operating Systems in General, UNIX, VMS, Operating Systems MVS, MS DOS, OS-9 UNIX, MVS, OS/2 Principles Software Engineering, Hardware Engineer- Principles ing, Digital Logical Design, Video Design, Software Engineering, Structured Software ASIC Design, 8/16/32-bit Microcomputer Design, Programming, Data Structures Systems Design, Structured Software Design, Programming, Data Structures Other Skills Desirable Other Skills Desirable Communications, Public Speaking, Presentation, Writing Management, Graphics Arts, Color, Traditional Animation, Technical Marketing Educational Levels Sought B.S., M.S., Ph.D. Educational Levels Sought B.S. Educational Background Desirable Educational Background Desirable Electrical Engineering, Computer Science, General Engineering, Computer Science, Mathematics, Physics Mathematics Types of Positions Types of Positions Full time, Consultant, Work Sharing Full time COMPANY STATISTICS page 221

Yale Graphics 7375 Drake Road Cincinnati, OH 45243-1419

Contact Chris Komnick

Company Area of Iterest Art, Advertising, Presentation Graphics, Image Processing

Specific Computer Graphics Experience Desirable Computer Graphics Fundamentals, Raster Graph- ics Techniques, Video Graphics Techniques, Vector Graphics Techniques, 2D Computer Graph- ics, Image Rendering Techniques, Freeform Curves and Surfaces, Spline Algorithms and Techniques

Graphics Standards Experience CGM

Specific Computer Science Skills Desirable

Languages C, Assembly

Operating Systems UNIX, MS DOS, OS/2

Principles Software Engineering, 8, 16 and 32-bit Micro- computer Systems Design, Structured Soft- ware Design, Programming

Other Skills Desirable Communications, Writing, Graphics Arts, Color, Technical Support

Educational Levels Sought None listed

Educational Background Desirable None listed

Types of Positions Full time and Part time, Summer, Student Co-op Program, Contractor, Consultant, Faculty Sabbati- cal Program, Work Sharing THE JOB SEARCH PROCESS SECTION 6

THE JOB SEARCH PROCESS

INTRODUCTION 225

EMPLOYMENT OPPORTUNITIES 225 College Placement Centers Classified Ads Networking Job Fairs Placement Agencies Conferences

LETTERS OF INTRODUCTION AND RESUMES 227 Letters of Introduction Resumes Personal References

PORTFOLIOS 228

INTERVIEWS 228 Preparing for the Interview Following Up

IN CLOSING 229

SELECTED READINGS 229 SIGGRAPH CAREER HANDBOOK page 224 THE JOB SEARCH PROCESS 6.0 Introduction page 225

THE JOB SEARCH PROCESS

Introduction

Whether you are seeking your first career opportunity, making a career change or moving from one position to another, searching for a job can be complex and confusing. The effort you put into preparing for this search is extremely important. Neither your education nor experience is of any value if you do not present yourself in a way which reflects your skills, abilities and usefulness to a potential employer. Take the time to acquaint yourself with available job search resources. This will help you find and select a position which meets your career goals.

This article summarizes the job search process. It is not intended to replace the many existing, excellent publications which discuss resumes, letters of introduction, portfolios, references and interviews.

Refer to the Selected Reading List at the end of this chapter and check with your local bookstore, librarian or college counseling center for more information on the subject. Take the time to read several of these publications. They offer many excellent suggestions and are usually based on the experience of others who have preceded you in this stage of your career.

Employment Opportunities

There are several major sources for locating employment opportunities. They are discussed briefly here.

College Placement Centers

Many companies visit colleges and universities to recruit new employees. Educational institutions frequently publish job search guidebooks. Check with your local college or university counseling or placement center for job listings, on-site interviews or job search guidebooks. Many placement centers offer assistance in preparing resumes and getting ready for interviews.

Classified Ads

Newspapers list employment opportunities in their classified ad sections. Most major newspapers publish special weekly listings of employment opportunities. They frequently publish special employment opportunity supplements. Check with the newspaper to find out which day has most employment listings and when (and if) a special supplement is planned. If you are looking for a job in a specific geographic area, call the newspapers in that area and ask how you can subscribe to their paper or purchase any special employment issues. 6.1 Employment Opportunities SIGGRAPH CAREER HANDBOOK page 226

Networking

Networking simply means communicating with a community of personal friends and contacts. Personal contacts within a company are one of the best and most frequently used sources of employment leads.

Talk to your friends or acquaintances who are in the business. The grapevine is a very useful source of information. It often provides good information about a company’s management practices, working conditions and personnel policies.

In order to meet people who are working in computer graphics, join a professional or educational society such as the Association for Computing Machinery (ACM). Many of these organizations have student and associate memberships. They also frequently have local groups or chapters which hold meetings regularly and offer you the opportunity to meet people and exchange ideas. The back cover of this publication lists ACM SIGGRAPH Local Groups throughout the world, and lists future ACM SIG- GRAPH conference dates and locations.

Job Fairs

Job fairs are held in many major cities where prospective employers or their personnel representatives gather to meet prospective employees. Companies provide information on their employment opportunities, provide job application forms, arrange interviews or may even conduct interviews on the spot. These job fairs are usually advertised in the classified sections of newspapers, on television and radio, and through mass mailings.

Placement Agencies

Placement agencies, popularly referred to as headhunters, are in the business of matching employment opportunities with qualified candidates. There are many placement agencies available. Some charge you a fee to find employment opportunities; some fees are paid by employers. You should determine in advance if you will be charged a fee and, if so, how much. Agencies are listed in the telephone directory and often place advertisements in the classified section of newspapers.

It is important to specify the type of work you are seeking when dealing with an agency, as they deal with many types of careers. If you are not clear in the definition of the type of work you are seeking, you may waste a lot your time and the potential employer’s time. Remember that placement agencies are paid for placing people in jobs. Do not be pressured by the agent to take a job prematurely or where you do not feel you have a career match.

Conferences

Conferences related to your field of specialization are not a good source of employment opportunities. Companies are at conferences to sell a product; they usually do not have time to discuss employment opportunities. However, conferences offer you an excellent opportunity to find out about many companies: what they sell, how they present themselves, and what products they plan. While at the conference, get a list of the exhibitors. Then, after the conference, use the list to make employment inquiries. THE JOB SEARCH PROCESS 6.2 Letters of Introduction and Resumes page 227

Many specialized magazines and periodicals are available at conferences. Look through those which are in your field of interest. These publications often provide information about companies in the field and sometimes provide job listings.

Finally, conferences present an excellent opportunity to build up your network of personal contacts. These contacts may be able to provide you with information about potential employers and employment opportunities in the future.

Letters of Introduction and Resumes The first contact with a potential employer is usually a resume and letter of introduction. The purpose of these documents is to get an interview. Career objectives should be included in your letter of introduction. Keep your objective general so you won’t lose a chance to be considered for a position which may not match a very specific career objective.

Many reference books deal with resumes and letters of introduction. These present many different writing styles and formats from which to choose. If you prepare your own resume, be neat, well organized, and to the point. Remember that your reader looks at hundreds of resumes. Avoid using low resolution printers. Use a letter quality, or better, printer. On the other hand, you may want to have your resume prepared professionally. The cost is small compared with your overall educational costs and potential employment gain.

Letters of Introduction

The letter of introduction should be organized in a clear, concise manner. Introduce yourself, state your general work objectives, tell why you would be an asset to the company, and suggest that you would like to discuss the matter further. Do this in one error-free, typed page.

Resumes

Keep your resume simple. Again, your potential employer’s time is valuable. Resumes should be clear, concise, neat and well organized. Highlight details such as education, experience, skills, and publications. The employer should be able to skim your resume and locate these important subjects easily.

References

Be sure to contact your potential references before you list them; verify that each is willing to give a positive reference. Tell them what type of work you are seeking and why you are interested in the potential employer. Verify that each is willing to act as a reference. Be sure that you list their current telephone numbers and addresses.

You should have references from managers, personal references and several peer references (from those who have worked with you) available upon request. 6.3 Portfolios SIGGRAPH CAREER HANDBOOK page 228

Portfolios

A portfolio is a carefully selected collection of examples of your graphic works. As such, the portfolio is your visual resume. The selections should be representative of your skills, clearly demonstrating your production style, composition and the various media you have used.

A portfolio composed of 35mm slides, photographs or video tapes is commonly used to present graphics works. Original work should not be mailed to your prospective employer; it can be easily lost. Have master sets of your slides or video tapes made, so that they may be easily reproduced.

If you wish to use a demo reel for presenting your work, have the work converted to high quality video tape by a post-production house. The cost is usually moderate and it gives the work a professional quality. Use VHS or 3/4" UMATIC format video tape. Do not use Super 8 film, because it is usually considered unprofessional. Keep your demo reels short. Make your selections carefully. Should you have an animated feature, select only a segment of it for your introduction, and include the entire work on the tape past your introductory section.

The content and quality of your selections are more important than their length. Your prospective employer has limited time to view each candidate’s work. All submitted work should be clearly and neatly labeled. Include the work’s title and date of creation along with your name, address and telephone number.

Interviews Many publications cover interview procedures. They include many extremely valuable points such as:

What to bring with you; What to wear; What to say, or not to say; How to dress; How to listen; Types of Interviews; Examples of commonly asked questions; Following up.

Preparing for the Interview

Whether you are seeking employment for the first time or changing your current position, it is very important to review your interview skills. This means going over types of interviews, questions, interviewers and potential companies.

Have a friend act as your interviewer using some of the questions and situations presented in various job search guidebooks, magazines or articles. Ask for constructive criticism. If you have a tape or video recorder, tape yourself answering these questions, with or without a friend. Evaluate yourself as if you were the prospective employer. THE JOB SEARCH PROCESS 6.4 Interviews page 229

Purchase a notebook or daily diary before beginning your interviews. Keep a record of the company name, the contacts, and facts relating to the company. These facts are developed by researching the company and learning of its products, markets, history, and policies. Information you have obtained from friends or at conferences is valuable here. Record the date and time the interview is scheduled, what you plan to take with you, and the name of the interviewer if known.

Following Up

After your interview, record your impressions of the interview, the company, the interviewer (whether that person is a personnel representative or potential immediate supervisor), working conditions, dress codes, and other pertinent information. Also, note your mileage, travel time and expenses. Your notes could be helpful for follow- up interviews. They may help you make that career decision with a clear mind.

In Closing In all matters pertaining to the job search, whether we are speaking of a written document, your person or your speech, remember to be clear, neat, concise and organized. If you think it is a waste of time or too much trouble to research the job search process, please think again. It is your future and all your education and experience to date that is at stake. Keep in mind that this process should lead you to a long term career position. The time and effort you put into this process can make the difference in finding the most rewarding career position.

APPENDIX

A.0 IMAGE CREDITS A.0 Image Credits SIGGRAPH CAREER HANDBOOK page 232

Image Credits

Cover

Introduction

• all images provided courtesy of the Xerox Corporation Xerox Square Rochester, New York

Section 1

• Xerox Corporation Xerox Square Rochester, New York

Section 2.0

• "Computer Animation" Mike McCulley

Section 2.4

• "Helicopter" Mike McCulley

Section 2.5

• "License Plate" Los Alamos National Laboratory T.M. Cannon, H.J. Trussel

Section 2.6

• Silicon Graphics Incorporated Mountain View, California

• The Data Glove VPL Research Mountain View, California A.0 Image Credits SIGGRAPH CAREER HANDBOOK page 234

Section 2.7

• Stephan R. Keith Sterling Software

Section 4

• Office of Public Information University of Iowa Iowa City, Iowa

Section 5

• All images provided by Oscar and Associates Photography and ACM SIGGRAPH 1990

Section 6

• Bob Powell Island Graphics

Please note that all other images used but not specifically listed above were drawn from either the career profile autors or the ACM SIGGRAPH slide sets from 1984 - 1989. Please refer to ACM SIGGRAPH for information on purchasing these slide sets. APPENDIX A A.0 Image Credits Page 235 APPENDIX B. FAMILY PICTURE APPENDIX B. FAMILY PICTURE

A group photograph of the Education Handbook Committee.

From left to right: Ed Furguson, University of Maine Catherine Shadden Keith, Design Department, Alameda County Stephan R. Keith, Sterling Software Laura Carey Halas, Innovative Software Solutions Bob Powell, Island Graphics