The Origins of Computer Graphics in Europe: Part 2-The Early Spreading of Computer Graphics in Europe.

"The Origins of Computer Graphics in Europe," is being published in two parts: Part 1, published in the March/April issue of IEEE Computer Graphics and Applications (IEEE CG&A), is subtitled "The Beginnings in Germany"; Part 2, published in this May/June 2023 issue, is subtitled "The Early Spreading of Computer Graphics in Europe." I was a participant, contributor, and witness to the events reported here and I relate my personal story along with the broader history. Part 1 describes the origins and successful evolution of computer graphics in Germany, starting in 1965, and includes details of the people and subject matter of the earliest research groups. It describes the efforts undertaken to establish computer graphics as a proper academic discipline, including the founding of EUROGRAPHICS, and creation of institutes for both basic and applied research in computer graphics. Part 2 continues the story with a focus on activities contributing to the growth of the academic and industrial computer graphics communities across Europe and documents the two IFIP workshops held at Seillac and the development of the GKS Graphics Standard. Over the years, computer graphics gained respect and importance as a component of the computer science curricula and became an important tool and enabling technology for applications for industry and for the IT market in Europe.

From Holocaust Hidden Child to Computer Animation Laboratory.

The article describes my long journey as a Jewish-born hidden child who was handed over to a Catholic family before the Krakow ghetto was eliminated in 1943. My father survived and I was reunited with him. We traveled to Germany in 1950 and were accepted as Canadian refugees in 1952. After an undergraduate and graduate program at McGill University, I was married in an Episcopalian/Anglican ceremony. My good fortune continued when I joined a research group at the National Research Council in the 1960s. The group worked on computer graphics and computer animation and won a Technical Academy Award for technology for the animated short Hunger/La Faim.

The Origins of Computer Graphics in Europe: Part 1-The Beginnings in Germany.

"The Origins of Computer Graphics in Europe," is being published in two parts: Part 1, in this issue of IEEE Computer Graphics and Applications, is subtitled "The Beginnings in Germany"; Part 2, to be published in the May/June issue, is subtitled "The Spreading of Computer Graphics in Europe." I was a participant, contributor, and witness to the events reported here and I relate my personal story along with the broader history. Part 1 describes the origins and successful evolution of computer graphics in Germany, starting in 1965, and includes details of the people and subject matter of the earliest research groups. It describes the efforts undertaken to establish computer graphics as a proper academic discipline, including the founding of EUROGRAPHICS, and creation of institutes for both basic and applied research in computer graphics. Part 2 continues the story with a focus on activities contributing to the growth of the academic and industrial computer graphics communities across Europe and documents the two IFIP workshops at Seillac and the development of the GKS Graphics Standard. Over these years, computer graphics gained respect and importance as a component of the computer science curricula and became an important tool and enabling technology for applications for industry and for the IT market in Europe.

Lightning and Thunder: The Early Days of Interactive Information Visualization at the University of Maryland.

The thrill of scientific discovery, the excitement of engineering development, and the fresh thinking of design explorations were invigorating as we participated in the birth of a new discipline: Information Visualization. This discipline, based on graphical user interfaces with pointing devices, became possible as software matured, hardware sped up, and screen resolution improved. Driven by the concepts of direct manipulation and dynamic queries, we made interactive interfaces that empowered users and opened up new possibilities for the next generation of designers. We worked with professionals who had real problems and tested real users to get their feedback. Some projects failed and some papers never got published, but many of the new ideas found their way into widely used commercial products. Our great satisfaction is that our students have spread the community spirit of the Human-Computer Interaction Laboratory as they continue to make further contributions.

The Development of B-Splines for CAD.

A description is given of the milieu, including people, events, and research activities, surrounding the development of the author's doctoral thesis, "Applications of B-spline Approximation to Geometric Problems of Computer-Aided Design." Although initially slow to become adopted, today nonuniform B-splines have become the international de facto standard representation in the CAD industry.

Adventures of a Government Researcher.

Visualization, interactive computer graphics, and related topics have been a particularly dynamic area of computer science, producing advances that impact society. Working at times in a research laboratory and at times for two science funding agencies, I held positions at the level of an individual researcher, Director of a VR Laboratory, and funding agency Program Director. This article will discuss some of my experiences, including insight into how science programs in funding agencies are initiated.

The Design of RenderMan.

The design of RenderMan was driven by the requirements of rendering for the movies. The rendered images could have no digital artifacts and they had to be able to be composited seamlessly with live-action footage. This article recounts the development of RenderMan. It tells the story of the invention of the fundamental architecture and algorithms, the application of good engineering and design principles, RenderMan's use in feature films, the long-term influence of the RenderMan Shading Language on real-time graphics and high-performance computing, and, where the name came from.

Computer Graphics and Animation at The Ohio State University.

The research and production of computer graphics imagery and animation at The Ohio State University started with the artistic work of Prof. Charles Csuri. He developed the Computer Graphics Research Group in response to the award of a National Science Foundation Grant in 1974, and the group transferred its technology to a commercial production effort, Cranston/Csuri Productions, Inc., in 1981. CGRG evolved into the Advanced Computing Center for the Arts and Design in 1987. This article provides an historical review of the significant activities of these groups.

Interactive Graphics in Industry: The Early Days.

Computer graphics has a long history. Industrial organizations and laboratories drove significant improvements as they adapted and assembled basic capabilities into complex interactive applications. Of particular concern in the early days was providing interactive 3-D applications for computer-aided design and engineering. This article describes the experience of two early industry practitioners who built successful 1970s interactive 3-D systems.

History of the Marching Cubes Algorithm.

The Marching Cubes paper by Bill Lorensen and Harvey Cline, "Marching Cubes: A High Resolution 3D Surface Construction Algorithm," was published at SIGGRAPH 1987.1 According to Google Scholar, their paper has 15,667 citations (as of January 17, 2020), the most highly cited paper in computer graphics. Sadly, while writing this article Bill Lorensen passed away on December 12, 2019. Origins Department Editor Chris Johnson contributed the text in italics. EARLY.

Origins of Global Illumination.

Global illumination refers to a complete shading model that simulates real lighting and reflection as accurately as possible. Whether used for product prototyping or special effects for entertainment, the goal is to match the appearance of the real world. The origins of global illumination come at the intersection of a steady progression of shading models with the ancient simulation technique of ray tracing.