Digital imaging is the most revolutionary advance in the visual arts since the camera. Computerized creation and manipulation of photographs and illustrations has become the mark of top-quality design work. If you are a photographer, designer or illustrator, then you need all the help you can get sorting through the morass of technical specifications and salesmanship surrounding this new technology. This book is designed to ease your transition to computerized media. It provides a detailed overview of technical and creative issues such as what hardware and software to buy and how to harnass its power, how to get the most from scanners and printers; how to work effectively with service bureaus and how to calculate imaging costs.
--This text refers to an out of print or unavailable edition of this title.
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Book Description
Editorial Reviews
From Library Journal
In Digital Imaging for Visual Artists , a husband-and-wife team has created an imposing volume filled with a vast amount of useful knowledge concerning the relatively new discipline of digital imaging. Their book manages to be readable and approachable while considering such disparate and difficult concepts as the basics of digital electronics, the physics of color, and the choice of a reliable printer (mechanical or human). At its most basic, this title serves as a guide for working visual artists interested in the available options for enhancing and creating work electronically, as well as a clear outline of marketplace realities and emerging electronic imperatives. The scope of coverage is impressive. This is a very useful reference for collections with an interest in the graphic arts or computer technology. Dynamic Computer Design , a more modest book, is no less useful in its own way. Characterized by a clear, crisp layout, this volume presents 20 examples of various projects created using microcomputers. Each project is described in enough detail to make it clear how the effects were accomplished, and a sidebar at the beginning of each example gives particulars of the hardware and software used. Software screens are reproduced in key areas to show exactly how the particular tool was used by the designer. This makes a nice complement to some of the material in the Grotta book. Recommended for graphic arts collections.
- Mark Woodhouse, Elmira Coll. Lib., N.Y.
Copyright 1994 Reed Business Information, Inc. --This text refers to an out of print or unavailable edition of this title.
- Mark Woodhouse, Elmira Coll. Lib., N.Y.
Copyright 1994 Reed Business Information, Inc. --This text refers to an out of print or unavailable edition of this title.
From Booklist
Digital manipulation of photographic images and illustrations has become so commonplace that it is now the norm rather than the exception in commercial publications. This large volume is designed to help artists who are not computer literate make the transition from traditional media to the digital arena. The authors describe the computer as a technological tool with capabilities bounded only by the imagination of the artist. They provide detailed discussions of digital (filmless) cameras, scanners, film recorders, illustration and page layout software, and electronic prepress methods. Other, broader topics involving complete systems (both PC and Mac) are covered in surprising depth; a full discussion of virtually every hardware peripheral is included. Although specific technical information is sometimes lacking ("ask your service bureau" is the advice given), most graphic artists and desktop publishers will find this a very thorough resource. David Siegfried
--This text refers to an out of print or unavailable edition of this title.
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Most Helpful Customer Reviews
1.0 out of 5 stars
Book was Great in 1993, outdated today,
By
This review is from: Digital Imaging for Visual Artists (Paperback)
When I purchased this book in 1993, it was the gold standard for introduction to digital photography. I can honestly say I recommended this book to literally hundreds of people when I worked in the photographic industry.
However, while the subject has changed in the last decade, the book has not. For example, there is a chapter devoted to obsolete film recorders, yet only passing mention is made to the jpeg image file format. While I will forever love and appreciate the Grottas for the incredible book they wrote, until it is revised I would recommend readers look for an alternative.
0 of 1 people found the following review helpful:
5.0 out of 5 stars
Like Watercolor for Concrete,
By A Customer
This review is from: Digital Imaging (Paperback)
A customer wait list and the high life are there with DIGITAL IMAGING FOR VISUAL ARTISTS. Computer programs, filmless cameras and scanners chart pioneer creative paths, save time and turn what used to be a sharply defined chain of creative responsibilities into a one-stop digital design and service bureau. The digital visual professional chooses brush types and reactions between media and surface; combines media unmixable in the real world; and controls brush strokes like never before. They come up with all the good images by doing everything from concept to development, execution, layout, color separation, and final ad, catalog, display, whatever. Wife and husband Sally Weiner and Daniel Grotta leave nothing out of digital imaging equipment and methods, covering all that is needed for input to and output from the computer and for storage. One of the most convincing pages in their masterpiece is Sally's composite with penguins: I wish I had the original. The book works as a one-of-a-kind clearinghouse with Joe Farace's THE PHOTOGRAPHER'S DIGITAL STUDIO, Adele Droblas Greenberg's DIGITAL IMAGES, Aaron Marcus' GRAPHIC DESIGN FOR ELECTRONIC DOCUMENTS AND USER INTERFACES, and Carl Sesto's THE MACINTOSH DESIGNER'S GUIDE TO DIGITAL IMAGING.
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