You can't do better design with a computer, but you can speed up your work enormously.— Wim Crouwel
Devotion Computer Graphics quotations
A graphic representation of data abstracted from the banks of every computer in the human system. Unthinkable complexity. Lines of light ranged in the nonspace of the mind, clusters and constellations of data. Like city lights, receding.
... the reason we think that computer graphics technology has succeeded in faking reality is that we, over the course of the last hundred and fifty years, have come to accept the image of photography and film as reality.
My reading is extremely eclectic. Lately I've been teaching myself computer graphics, so I'm reading a lot about that. I read books of trivia, of facts.
Graphic design, which evokes the symmetria of Vituvius, the dynamic symmetry of Hambidge, the asymmetry of Mondrian; which is a good gestalt, generated by intuition or by computer, by invention or by a system of coordinates, is not good design if it does not communicate.
All problems in computer graphics can be solved with a matrix inversion.
There are about a dozen great computer graphics people and Jim Blinn is six of them.
I've always considered myself a graphic artists - a draftsman - as opposed to a typist. I do still work on a drawing table. At times drawing on a computer feels like I'm drawing on an Etch-a-Sketch.
My particular aesthetic of light and color and design wouldn't change as a result of working with computer graphics rather than with slit scan or miniatures.
It's possible to do computing in the Cloud, PlayStation 4 can do computing in the Cloud. We do something today: Matchmaking is done in the Cloud and it works very well. If we think about things that don't work well... Trying to boost the quality of the graphics, that won't work well in the Cloud.
It was one of those sort of apocalyptic moments.
I remember within ten minutes of seeing the graphical user interface stuff, just knowing that every computer would work this way someday. It was so obvious once you saw it. It didn't require tremendous intellect. It was so clear.
What I proposed was a computer that would be easy to use, mix text and graphics, and sell for about $1,000. Steve Jobs said that it was a crazy idea, that it would never sell, and we didn't want anything like it. He tried to shoot the project down.
When designers replaced the command line interface with the graphical user interface, billions of people who are not programmers could make use of computer technology.
I think 'The Lost World' could've been a successful movie except for the fact that it pre-dated the good special effects and computer graphics.
No computer network with pretty graphics can ever replace the salespeople that make our society work.
Cyberspace. A consensual hallucination experienced daily by billions of legitimate operators, in every nation, by children being taught mathematical concepts... A graphic representation of data abstracted from banks of every computer in the human system. Unthinkable complexity. Lines of light ranged in the nonspace of the mind, clusters and constellations of data. Like city lights, receding...
Clearly, if we'd had the kind of computer graphics capability then that we have now, the Star Gate sequence would be much more complex than flat planes of light and color.
Loads of computer graphics equals a terrible video in my book.
With all the hype that computer graphics has been getting, everybody thinks there's nothing better than CGI, but I do get a lot of fan mail saying they prefer our films to anything with CGI in it. I'm grateful for that, and we made them on tight budgets, so they were considered B-pictures because of that. And, now here we are, and they've outlasted many so-called A-pictures.
It was 4 or 5 years into my first design job before the idea of doing graphic design on computers started taking hold. I started working in 1980, the Macintosh was introduced in 1984, then the real desktop publishing only started coming around in 85-86, but it wasn't really until the end of the decade that the transition became irresistible.
CGI is to me like watching a cartoon.
It can be effective, if it's done well. A lot of times you don't feel any real risk. You're watching a bunch of computer-generated graphics.
... what is faked [by the computerization of image-making], of course, is not reality, but photographic reality, reality as seen by the camera lens. In other words, what computer graphics have (almost) achieved is not realism, but rather only photorealism - the ability to fake not our perceptual and bodily experience of reality but only its photographic image.
If you look at the whole world now it's just computer games, graphic novels, film, TV spinoffs, spinoffs of spinoffs like Deadpool spinning off of Wolverine. So I think that any kind of smart producer looks at all of those bases. Once it comes down to the integrity of it audiences are very smart, they smell that they're just kind of being played.
I play a lot of computer games. I love computer graphics. I've had Pixar in me for a long time.
In the judgment of design engineers, the ordinary means of communicating with a computer are entirely inadequate. [...] Graphical communication in some form or other is of vital importance in engineering as that subject is now conducted; we must either provide the capability in our computer systems, or take on the impossible task of training up a future race of engineers conditioned to think in a different way.
I know of no person or group that is taking nearly adequate advantage of the graphical potentialities of the computer.
I wonder if we are seeing a return to the object in the science-based museum.
Since any visitor can go to a film like Jurassic Park and see dinosaurs reawakened more graphically than any museum could emulate, maybe a museum should be the place to have an encounter with the bony truth. Maybe some children have overdosed on simulations on their computers at home and just want to see something solid--a fact of life.
There has to be the popcorn genre element, or I don't engage the same way.
I like action and vehicle design and guns and computer graphics as much as I like allegory. It's a constant balancing game. I want audiences to be on this rollercoaster that fits the Hollywood mould, but I also want them to absorb my observations.