An Introduction to Computer ...... Environments

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An Introduction to Computer Graphics and Creative 3-D Environments,Barry G. Blundell 2008

Author: Barry G. Blundell

Publisher: ?Springer-Verlag London Limited 2008

Pages: 505

ISBN: 978-1-84800-041-4

e-ISBN: 978-1-84800-042-1

DOI 10.1007/978-1-84800-042-1



Preface

This book is designed to be a course text for students studying computer graphics and related

subjects at the introductory level within the context of an undergraduate or graduate degree

programme. The content is presented in such a way as to ensure that it is accessible to the

widest possible audience and wherever feasible a trans-disciplinary approach is adopted, thereby

making the subject matter accessible to students of both the traditional Arts and Sciences. The

book is designed to support the infusion of research content within the course curriculum.

Coverage includes:

1. An introduction to computer graphics – both two and three-dimensional image depiction.

Here we primarily focus on fundamental techniques and methodologies that underpin the

formation and manipulation of image scenes.

2. Basic mathematical techniques employed in computer graphics. Only an elementary knowledge

of maths is assumed – our primary objective is to ensure that the contents are accessible

to students with diverse backgrounds. At the same time, the introductory coverage of maths

is structured in a way that enables students who have previously studied this material to easily

verify their skills and, if appropriate, skip material with which they are already familiar.

3. Discussion in relation to key aspects of the human visual system and the suitability of the

traditional computer display to optimally interface with our complex sense of sight. In this

context we consider a range of pictorial, oculomotor, and parallax depth cues and discuss

facets of 3-D image depiction.

4. Computer graphics provides the primary means by which we visualise the results of the

computational process and also underpins our interaction with the digital domain. With

this in mind, we consider aspects of the human-computer interaction process and the

synergy that exists between the visual image and interaction tools. This includes discussion

of haptic technologies and bi-manual interaction.

5. Various ‘creative’ 3-D display system technologies (including stereoscopic, multi-view,

volumetric, varifocal and holographic techniques) are introduced. Here, we consider

characteristics of the displayed image, discuss interaction opportunities, and highlight key

strengths and weaknesses.

Anaglyph, stereo, and Pulfrich viewing glasses are supplied with this book. These are intended

to provide the reader with the opportunity to experiment with 3-D images. The anaglyph glasses

can be used to view images reproduced in the text. A number of stereograms are also provided

and these can be easily viewed using the stereo glasses or, after a little practice, they can be fused

directly. The Pulfrich glasses provide an interesting insight into characteristics of the human

visual system and can be used when viewing dynamic computer generated images or television

scenes – enabling a scene to appear to reside within a 3-D space rather than within the confines

of the 2-D screen on which it is actually displayed. In addition, if you are interested in obtaining

a simple interactive program that will enable you to create line drawings in stereo form (and so

experiment with 3-D image formation) please contact the author directly at the e-mail address

given below.

The book has been designed to enable some flexibility in the order in which content is studied.

For example, Chapter 5 (Interfacing with the Visual System), Chapter 9 (Creative 3-D Display

Systems) and Chapter 10 (Interaction and Haptic Feedback) are, in the main, independent of

the other chapters and can therefore be read out of sequence.

To aid the learning process a number of ‘Over to You’ (OTU) exercises are presented within

the body of each chapter. These are designed to reinforce and/or extend discussion. Feedback

on selected exercises is provided towards the end of the book. In addition, chapters are accompanied

by review questions (and possible solutions) which are intended to give an opportunity

for revision.

At the beginning of each chapter a fragment of text and an image are presented. These are

reproduced from the outstanding book, ‘Memories’ by John Galsworthy, the illustrations being

created by Maud Earl (see also Figure 1.8). This book was first published in 1911 and provides

an excellent example of the synergy that can exist between two mediums of expression – both of

which impinge on our imagination and equally support a ‘suspension of disbelief ’ (see related

discussion in Chapter 1). In fact, as the reader will note, the images created by Maud Earl have

a number of remarkable attributes – not the least of which is their ‘kinetic’ form. Although we

are presented with a single static image (corresponding to an image frame) we can anticipate

the dog’s (Chris’s) motion.

Despite the care that has been taken in the preparation of this book, errors and omissions will

undoubtedly have occurred. The author would very much appreciate feedback from readers,

especially concerning ways in which future editions could be improved, and in relation to any

work that has been omitted or incorrectly attributed. It has been a privilege to have had the

opportunity to write this book. It is hoped that you will enjoy perusing its contents and that

having done so you will feel encouraged to study computer graphics (and related subjects) at a

more advanced level.

Barry G. Blundell


Barry.blundell@physics.org




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