Photoshop photo to tattoo,dragons lair tattoos 9gag,online free photo editor for mobile,uv tattoos tumblr wrist - For Begninners

Continuing Education is open to everyone. Their mission is  to provide ongoing learning opportunities, preparing diverse individuals for career advancement, a college education, or enriched lives through good health and personal fulfillment.
Photoshop usa a cor modelos RGB, Lab, CMYK, em tons de cinza, bitmap binário, e duotone.
One of the best ways to become better in Photoshop is to practice and an intuitive way of practicing is by following tutorials. I hope you enjoyed this tutorials roundup and if you want me to make more roundups like this please post a comment and let me know. Tagged 2013 tutorials, best photoshop tutorials, photoshop, psd box tutorial roundup, tutorial. Contemporary media is experienced, created, edited, remixed, organized and shared with software.
This article approaches some of these questions via the analysis of a software application that has become synonymous with “digital media” – Adobe Photoshop.
This multiplicity of operations offered in contemporary application software creates a challenge for Software Studies. This article starts by proposing two such possible schemes and then tests them by analyzing a subset of Photoshop’s commands which, in a certain sense, stand-in for this application in our cultural imaginary: Filters. It is important to point out that the two proposed schemes are intended to serve only as provisional categories. My first scheme that we will test divides all software techniques for working with media into two types depending on which data types they can work on. 1a) The first type is media creation, manipulation, and access techniques that are specific to particular types of data. 1b) The second type is new software techniques that can work with digital data in general (i.e.
My second scheme also divides software techniques for working with media data into two types, but it does this in a different way.
2a) The first type is simulations of prior physical media augmented with new properties and functions.2 When we use computers to simulate some process in the real world – the behavior of a weather system, the processing of information in the brain, the deformation of a car in a crash – our concern is to correctly model the features of this process or system.
Xerox brochure for Star workstation (officially known as officially known as the Xerox 8010 Information System) introduced in 1981. 2b) The second type is a number of new computational media that do not have any obvious equivalents in previous physical or electronic media. While for a media historian this scheme is quite meaningful, what about users who are “digital natives”? Thus, although users may not care that one software tool does something that was not possible before digital computers while another tool simulates previous physical or electronic media, the distinction itself between two types is something users experience in practice. The first thing that is easy to notice is that the names of many Photoshop filters refer to the techniques for image manipulation and creation and materials that were available before the development of media application software in the 1990s – painting, drawing and sketching, photography, glass, neon, photocopying.
This is a good example of my earlier point that simulations of prior physical media augment them with new properties. While some of these filters can be directly traced to previous physical and mechanical media such as oil painting and photography, others make a reference to actions or phenomena in the physical world that at first appear to have nothing to do with media. However, if we examine any of these filters in detail, we realize that things are not so simple.
The situation is further complicated by the fact that the results of applying the Wind filter to an image look pretty different compared to what the actual wind does to a tree or a field of grass. Although they represent a small subset of Photoshop’s extensive filter collection, these filters are central to all electronics, telecommunication and IT technologies. In their Photoshop implementation, these filters work on continuous-tone images, but since they can be also applied to sound and other types of signals, they actually belong to our “media-independent” category (1a). This is one of the most important theoretical dimensions in the shift from physical and mechanical media technologies to electronic media and then digital software.
And this, in turn, makes possible the idea of information – a disembodied, abstract and universal dimension of any message separate from its content.
The introduction of the coding stage allows for a new level of efficiency and speed in processing, transmitting and interacting with media data and communication content – and this is why first electronics and later, digital computers gradually replace all other media-specific tools and machines. The field of digital image processing began to develop in the second part of the 1950s when scientists and the military realized that digital computers can be used to automatically analyze and improve the quality of aerial and satellite imagery collected for military reconnaissance and space research.
In summary, Photoshop’s seemingly “born digital” (or “software-native”) filters have direct physical predecessors in analog filters.10 These analog filters were first implemented by the inventors of telephone, radio, telephone, electronic music instruments, and various other electronic media technologies during the first half of the 20th century. The challenges in deciding in what category to place Photoshop filters persist if we continue going through the Filter menu. The shift from physical media tools and materials as algorithms designed to simulate the effects of these tools and materials has also another important consequence. For an example, lets analyze the behavior of Wave filter (located under the Distort submenu). If we follow Lakoff ‘s theory of metaphor, some details of the Wave filter operation – along with many other Photoshop filters that refer to the physical world – can be understood as similar metaphorical projections. The filter generates sine wave functions (y = sin x), adds them up and uses the result to distort an image.
However, at some point the metaphorical connection to real world waves breaks, and the use of Lakoff’s theory no longer helps. If we keep the number of generators small (2 – 5), sometimes these random values add up to a result that still resembles a wave; in other cases they do not. Wave filter can create a practically endless variety of abstract patterns – and most of them are not periodic in an obvious way, i.e. The same considerations apply to many other Photoshop filters that make references to physical media. The same “high-level” automation underlies so-called “generative (or “procedural”) software techniques common today. However, as they are implemented in media applications such as Photoshop, software techniques that simulate previous media and the software techniques that are explicitly procedural and use higher-level automation are part of the same continuum.
I started this discussion of Photoshop filters to test the usefulness of two schemes for classifying the seemingly endless variety of software techniques available in media software: 1) media independent vs. Although the previous discussion highlighted the difficult borderline cases, in other cases the divisions are clear.
However, beyond these distinctions suggested by the two schemes I proposed, all software techniques for media creation, editing, and interaction also share some additional common traits that we have not discussed yet. Regardless of whether they refer to some pre-existing instrument, action, or phenomena in the physical world or not, the media techniques available in application software are implemented as computer programs and functions. The pioneers of media software aimed to extend the properties of media technologies and tools they were simulating in a computer – in each case, as formulated by Kay and Goldberg, the goal was to create “a new medium with new properties.” Consequently, software techniques that refer to previous physical, mechanical, or electronic tools and creative processes are also “new media” because they behave so differently from their predecessors.
In other words, regardless of where a particular technique would fall in our classification schemes, all these techniques are instances of one type of technology – interactive application software. For our final analysis, we will go outside the Filter menu and examine one of the key features of Photoshop that originally differentiated it from many “consumer” media editors – the Layers palette. We can compare this fundamental change in the concept and practice of image creation with a similar change that took place in mapping – a shift from paper maps to GIS (Geographical Information System). GIS “captures, stores, analyzes, manages, and presents data that is linked to location.”19 The central concept of GIS is a stack of data layers united by common spatial coordinates. In the GIS paradigm, space functions as a media platform which can hold all kinds of data types together – points, 2D outlines, maps, images, video, numerical data, text, links. Photoshop Help explains Layers in the following way: “Photoshop layers are like sheets of stacked acetate. It is not surprising that Photoshop Layers are closely related to 20th century visual media techniques such as cell animation, as well as to various practices of pre-digital compositing such as multiple exposure, background projection, mattes in filmmaking, and video keying.21 However, there is also a strong conceptual link between image Layers and 20th century music technology.
Finally, yet another lead links Layers to a general principle of modern computer programming.
Illustration of digital compositing from Thomas Porter and Tom Duff, “Compositing Digital Images,” Computer Graphics vol.
Porter and Duff’s paper makes an analogy between creating a final scene by compositing 3D elements and assembling separate code modules into a complete computer program.
Experience has taught us to break down large bodies of source code into separate modules in order to save compilation time.
The same idea of treating an image as a collection of elements that can be changed independently and re-assembled into new images is behind Photoshop Layers. This link between a popular software technique for image editing and a general principle of modern computer programming is very telling. In short: through the work of many people, from Ivan Sutherland in early 1960s, to the teams at ILM, Macromedia, Adobe, Apple and other companies in the 1980s and 1990s, media becomes software – with all the theoretical and practical consequences such a transition entails.
This week, Adobe Photoshop, the emblematic image manipulation software, celebrated its 25th anniversary. Twenty five years later, the software became so popular and woven into our daily lives that we now use the word ‘photoshopping’ to describe any kind of image manipulation, regardless of the software used in the process. Without Photoshop we wouldn’t have the perfect models on the front cover of fashion magazines, or the spotless actresses that make us dream about them. John Knoll, Thomas Knoll’s brother, joined the project and used the knowledge acquired while working at the George Lucas’ visual effects studio to make the software better. Meanwhile, the project was presented to Apple, which in 1988 licensed it and renamed it Photoshop. Eight years ago, Creative Suite 3 was released with improved features designed for to improve the work of medical scientists and engineers. Photoshop latest version is very focused on 3-D imagery manipulation, which is a very handy tool for both advertisers and artists, according to the company. Enter your email address to subscribe to this blog and receive notifications of new posts by email. In this roundup we featured 26 amazing Photoshop tutorials which include abstract tutorials, manipulations, typography, flyers, posters, photoshop techniques, video tutorials and many more.
Like other professional programs for media authoring and editing, Photoshop’s menus contain many dozens of separate commands.

If we are to understand how software applications shape our worlds and our imaginations (what people imagine they can do with software), we need some way of sorting all these operations into a fewer categories so we can start building a theory of application software. They provide one possible set of directions – an equivalent of North, South, West and East for a map where we can locate multiple operations of media design software. In other words, these techniques can be used only on a particular data type (or a particular kind of “media content”).
What matters here are the relations between software techniques and pre-digital media technologies. We want to be able to test how our model would behave in different conditions with different data, and the last thing we want to do is for the computer to introduce some new properties into the model that we ourselves did not specify. These software users may never have directly used any other media besides tablets or laptops, or mobile media devices (mobile phones, cameras, music players); and they are also likely to be unfamiliar with the details of 20th century cell animation, film editing equipment, or any other pre-digital media technology.
For instance, you have to explicitly move the cursor in a desired pattern to produce a particular brushstroke using a brush tool; you also have to explicitly type every letter on a keyboard to produce a desired sentence.
The tools that belong to the first type showcase the ability of computers to automate processes; the tools that belong to the second type use invisible low-level automation behind the scenes while requiring users to direct them manually. For instance, the Extrude filter generates a 3D set of blocks or pyramids and paints image parts on their faces, while the Wave filter creates the effect of ripples on the surface of an image. However, they do look rather similar to a photograph of a real windy scene taken with a long exposure.
The great majority of the filters make references to previous physical media or our experiences in the physical world – at least in terms of how they are named. Moreover, they are not unique to processing digital images but can be used on any kind of data – sounds, television transmission, data captured by an environmental sensor, data captured by a medical imaging devices, etc. In other words, they are general techniques developed first in engineering and later also in computer science for signal and information processing. Previously, physical and mechanical media tools were used to create content which was directly accessible to human senses (with some notable exceptions like Morse code) – and therefore the possibilities of each tool and material were driven by what was meaningful to a particular human sense. Rather than operating on sounds, images, film, or text directly, electronic and digital devices operate on the continuous electronic signals or discrete numerical data. Operations such as those just mentioned are now used to automatically process the signals and data in various ways – reducing the size of storage or bandwidth needed, improving quality of a signal to get rid of noise, and of course – perhaps most importantly – to send media data over communication networks. They were already widely used in the electronics industry and studied in the field of analog signal processing before they were adapted for digital image processing. The difficulties in deciding where to place this or that technique are directly related to the history of digital computers as simulation machines. Depending on the choice of parameter values, this filter can either produce effects that closely resemble our perceptual experience of actual physical waves, or new effects that are related to such waves metaphorically. If we increase the number of generators (it can go up to 999), the pattern produced by the filter no longer appears to be periodic, and can therefore no longer can be related to real waves even metaphorically. As we already explained, when the number of generators is set to 1, the algorithm generates a single sine function. But when the number of functions is increased, the result of adding these separate functions with unique random parameters never looks like a wave. Similar to a Wave filter, the filters gathered under the Artistic and Texture submenus produce very precise simulations of the visual effects of physical media with a particular range of parameter settings; but when the parameters are outside of this range, these filters generate a variety of abstract patterns. Earlier I pointed out that the software tools that simulate physical instruments – paint brushes, pens, rulers, erasers, etc.
The work ranges from still and motion graphics to architecture and games – from live visuals and animations by software artist Lia13 to the massive procedurally generated worlds in the game Minecraft .14 Other generative projects use algorithms to automatically create complex shapes, animations, spatial forms, music, architectural plans, etc. As we saw with the Wave filter, the same algorithm can generate an abstract image or a realistic one. For example, the Brushstrokes filter family in Photoshop clearly takes inspiration from earlier physical media tools, while Add Noise does not. Conceptually, these traits are different from common media independent techniques such as copy and paste. And, as Kay and Goldberg explained in their 1977 article quoted earlier, interactive software is qualitatively different from all previous media. Instead of working on a single design, with each change immediately (and in the case of physical media such as paint or ink, irreversibly) affecting this image, she now works with a collection of separate elements. To again quote Photoshop CS4’s online Help, “Sometimes layers don’t contain any apparent content. Just as all media professionals use Photoshop, today the majority of professional users that deal with physical spaces – city offices, utility companies, oil companies, marketers, hospital emergency teams, geologists and oceanographers, military and security agencies, police, etc.
There is an obvious conceptual connection to the use of layers in Photoshop and other media software applications – however, GIS systems work with any data that has geospatial coordinates rather than only images positioned on separate layers.
You can see through transparent areas of a layer to the layers below.”20 Although not explicitly named by this Help article, the reference here is to the standard technique of 20th century commercial animation – cell animation.
As Porter and Duff explain, the experience of writing software in this way led them to consider using the same strategy for making images and animations.
An error in one routine forces only the recompilation of its module and the relatively quick reloading of the entire program.
Importantly, Photoshop was developed at the same place where the principles of digital compositing were defined earlier. It is a perfect example of how all elements of modern media software ecosystem – applications, file formats, interfaces, techniques, tools and algorithms used to create, view, edit, and share media content – have not just one but two parents, each with their own set of DNAs: media and cultural practices, on the one hand, and software development, on the other.
This article dives into Photoshop Filter and Layers menus to discuss some of these consequences – but more still remain to be uncovered. Photoshop managed somehow to blur the line between fantasy and reality by fueling our society’s obsession with worldly perfection. In 1987, Thomas Knoll, a PhD student at the University of Michigan, managed to create the very first version of Photoshop, dubbed Display. The software was not ready to get used by home users until 1990, when its first version was shipped on February 19. Among the game-changing features, we could mention the ‘healing brush’ and the ‘content-aware fill,’ as well as ‘vanishing point’ and ‘puppet warp’, which allowed 3-D manipulation within 2-D image files. Being a nerd and someone who loves to learn, I was definitely always excited for the first day of school, which brings me to share why I’m so excited today! As someone who runs a marketing business where so much of what I do has an emphasis on educating others, I definitely seize any opportunity where I can continue to grow my own knowledge. To understand media today we need to understand media software – its genealogy (where it comes from), its anatomy (interfaces and operations), and its practical and theoretical effects.1 How does media authoring software shape the media being created, making some design choices seem natural and easy to execute, while hiding other design possibilities? If we consider that almost all the commands contain multiple options that allow each command do a number of different things, the complete number runs into thousands. This can’t be achieved by simply following the top menu categories offered by applications. Like any first sketch, no matter how imprecise, this map is useful because now we have something to modify as we go forward. I am going to refer to these techniques as media specific (the word “media” in this case stands for “data type”). The examples are “view control,” hyperlinking, sort, search, and network protocols such as HTTP. In short, when we use computers as a general-purpose medium for simulation, we want this medium to be completely “transparent.” But what happens when we simulate different media in a computer?
Does this mean that the distinction between software simulations of previously existing media tools and new “born digital” media techniques has no meaning for digital natives but only matters for historians of media such as myself? To understand why this is the case, let’s ask if all “born digital” media techniques available in media authoring software applications may have something in common – besides the fact that they did not exist before software.
In contrast, many of the techniques that do not simulate anything that existed previously – at least, not in any obvious way – offer higher-level automation of creative processes. These options make possible to control filter’s visual effects with a degree of precision that would be hard to achieve when using the corresponding physical tool. These controls not only offer many options but also often allow you to set filter’s properties numerically by choosing a precise value from a range. This is how Photoshop CS4’s built-in Help describes this filter: “Places tiny horizontal lines in the image to create a windblown effect.
Therefore, we can think of the name “Wind” both as a metaphor – to help us imagine what a particular algorithmic transformation does to an image – and as a simulation of a particular photographic technique (long exposure).
A paintbrush could create brushstrokes that had color, thickness, and shape – properties directly speaking to human vision and touch. This allows for the definition of various operations that work on any signal or any set of numbers – regardless of what this signal or numbers may represent (images, video, student records, financial data, etc.).
The Photoshop filters that automatically enhance image appearance (for instance, by boosting contrast, or by reducing noise) come directly from that period (late 1950s – early1960s). We can use the same filter to achieve a look that may indeed appear to closely simulate the effect of the corresponding physical tool or physical phenomena – or a look which is completely different from both nature and older media and which can be only achieved though algorithmic manipulation of the pixels. Lakoff proposed that the majority of our abstract concepts are metaphorical projections from sensorimotorial experiences with our own body and the surrounding physical world.12 “Making waves” and other metaphors derived from our perceptual experience of seeing real waves exemplify this general mechanism of language. If the option is to set to 2, the algorithm generates two functions; if it is set to 3, it generates three functions, and so on. So although the filter is called “Wave,” only a tiny part of its space of possible patterns corresponds to the wave-like visual effects in the real world.
Similarly, particle systems algorithms are used by new media artists and motion graphics designers to generate abstract animations; the same algorithms are also widely used in film production to generate realistic-looking explosions, fireworks, flocks of birds and other physical natural phenomena. The Copy and Paste commands are the examples of media independent techniques; Auto Contrast and Replace Color commands are the examples of media-specific techniques. Additionally, their interfaces use established conventions employed in all application software – regardless of whether these tools are part of spreadsheet software, inventory management software, financial analysis software, or web design software. New functionality (for instance, multiple zoom levels, the presence of media independent techniques (copy, paste, search, etc.) and standard interface conventions (such as numerical controls for every tool, the preview option, or commands history) further separate even the most “realistic” media simulation tool from its predecessors. She can play with these elements, deleting, creating, importing and modifying them, until she is satisfied with the final composition – or a set of possible compositions that can be defined using Layer Groups.

For example, an adjustment layer holds color or tonal adjustments that affect the layers below it.
In Photoshop the layers are still conceptually subordinated to the final image – when you are using the application, it continuously renders all visible layers together to show this image.
Thinking about various possible sources of this concept and also considering how it relates to other modern media editing techniques takes us in a number of different directions. Like a film camera mounted above the animation stand, Photoshop software is continuously “shooting” the image created through a juxtaposition of visual elements contained on separate layers. The inventor of multitrack recording was the guitarist Les Paul; in 1953 he commissioned Ampex to built the first eight-track recorder.
The key idea was to render each separate element with a matte channel containing transparency information. The first version of the program was written by brothers Thomas and John Knoll when Thomas took a six-month leave from the PhD program at the University of Michigan in 1988 to join his brother who was then working at ILM.
This will help with my ability to be more creative in both my own and my clients’ branding strategy. For example, the technique of geometrical constraint satisfaction already available in the first graphical editor – Ivan Sutherland ’s Sketchpad (1961-1962) – can work on graphical data defined by points and lines.
They are general ways of manipulating data regardless of what this data encodes: pixel values, text characters, 3D shapes, etc. In this case, the appearance of new properties may be welcome as they can extend the expressive and communication potential of these media. In the case of application software, the execution of any command involves “low-level” automation (since a computer automatically executes a sequence of steps of the algorithm behind the command). Rather than controlling every detail, a user specifies parameters and controls and sets the tool in motion.
For example, the Palette Knife filter offers three options: Stroke Size, Stroke Detail, and Softness.
In short, although its name points to the physical world, its actual operations may also refer to a pre-digital media technology. Similarly, the settings of photographic camera controls affected the sharpness and contrast of captured photos – characteristics meaningful to human vision. This is true not only for a significant portion of media editing techniques – filters, digital paintbrushes and pencils, CAD tools, virtual musical instruments and keyboards, etc. What begins as a reference to a physical world outside of the computer if we use default settings can turn into something totally alien with a change in the value of a single parameter. Applying this single function to an image distorts it using a periodically varying pattern. A user sets the parameter values and the algorithm automatically creates the desired result. Additionally, because these applications simulate older manual model of creation, they are also seen as less “new media specific” then generative software.
In another example, procedural techniques often used in architectural design to create abstract spatial structures are also used in video games to generate realistic 3D environments.
The first scheme draws our attention to the fact that all media applications share some genes, so to speak, while also providing some techniques that can only work on particular data types. Interactivity, customization, the possibility to both simulate other media and information technologies and to define new ones, processing of vast amounts of information in real-time, control and interaction with other machines such as sensors, support of both distributed asynchronous and real-time collaboration – these and many other functionalities enabled by modern software (of course, working together with middleware, hardware, and networks) separate software from all previous media and information technologies and tools invented by humans. And since the contents and the settings of all layers are saved in an image file, she can always come back to this image to generate new versions or to use its elements in new compositions.
Rather than edit image pixels directly, you can edit an adjustment layer and leave the underlying pixels unchanged.”18 In other words, the layers may contain editing operations that can be turned on and off, and re-arranged in any order. Consumer mapping software such as Google Maps, MapQuest and Google Earth can be thought of as very simplified GIS systems. As used by professionals, “maps” constructed with GIS software may contain hundreds or even thousands of layers.
So although you can use a Photoshop image as a kind of media database – a way to collect together different image elements – this is not the intended use (you are supposed to use separate programs such as Adobe Bridge or Aperture to do that). First of all, layers is not specific to raster image editors such as Photoshop; this technique is also used in vector image editors (Illustrator), motion graphics and compositing software (After Effects), video editors (Final Cut), and sound editors (Pro Tools). This allowed the filmmakers to create each element separately and then later combine them into a photorealistic 3D scene. Two years later, Photoshop 3 revolutionized the industry with its “layers” feature, which is one of Photoshop’s most powerful tools. This idea was already clearly articulated at Xerox PARC in the first part of the 1970s – a place that more than any other is responsible for creating the category of software applications. However, what it is important from a user point of view is the level of automation being offered in the command’s interface.
All generative (also called “procedural”) techniques available in media software fall into this category.
Stroke Size can take values between 1 and 50; the other two options have similarly large ranges.
A different way to express this is to say that the “message” was not encoded in any way; it was created, stored, and accessed in its native form. In other words, many algorithms only simulate the effects of physical tools and machines, materials or physical world phenomena when used with particular parameter settings; when these settings are changed, they no longer functions as simulations. This is both a theoretical point, and the reality of professional design and image editing in our software society.
An image is thus redefined as a provisional composite of both content elements and various modification operations that are conceptually separate from the elements. For instance, since 2004 Apple has included the multitrack recorder and editor GarageBand on all its new computers. Another example: today image editing programs usually include various filters such as Blur and Sharpen that can operate on continuous tone images. An example of such a technique is Douglass Englebart’s “view control” (mid 1960s) – the idea that the same information can be displayed in many different ways.
When Alan Kay and his colleagues at PARC created computer simulations of existing physical media – i.e.
For example, rather than having to create a rectangular grid made of thousands of lines by hand, a user can specify the width and the height of the grid and the size of one cell, and the program will generate the desired result. Or perhaps, we can think of it as an example of a conceptual “blend” (which is how, according to Conceptual Blending theory,5 many concepts in natural languages get formed): “wind” plus “image” results in a new concept actualized in the operations of the Wind filter. So if we were to redraw the famous diagram of a communication system by Claude Shannon (1948)8 for the pre-electronics era, we would have to delete the encoding and decoding stages. Each of these operations and structures can, both conceptually and historically, be traced to previous physical or mechanical operations and to strategies of data, knowledge and memory management that were already in place before the 1940s. Any professional design created in Photoshop is likely to use multiple layers (in Photoshop CS4, a single image can have thousands of layers).
When professional users work with GIS application, they may never output a single map that would contain all the data.
Other popular software implementations include free application Audacity and professional-level Pro Tools.
This concept is now implemented in most media editors so it works with images, 3D models, video files, animation projects, graphic designs, sound compositions, and text. Another example of this higher-level automation is interpolation of key values offered by animation software. For example, computer “files“ and “folders” refer to their paper predecessors already standard in every office. Since each layer can always be made invisible, layers can also act as containers for elements that potentially may go into the composition; they can also hold different versions of these elements. Instead, a user selects the data she needs to work with at that moment and then performs various operations on this data (practically this means selecting a subset of all data layers available). We can go with such examples: it is would be as meaningless to try to “extrude” a text or “interpolate” it as to define a number of columns and tab stops for an image or a sound composition. View control has also become part of modern OS (operating systems such as Mac OS X, Microsoft Windows, or Google Chrome OS).
Writing about their work in 1997, Kay and Adele Goldberg for instance point out that “It [the electronic book] need not be treated as a simulated paper book since this is a new medium with new properties.
In a 20th century animation production, a key animator drew key frames which were then forwarded to human inbetweeners who created all the frames in between the key frames.
As it turns out, all these filters are also software simulations that refer to things that already existed before digital computers. The first commercial digital computers from IBM were marketed as faster equivalents of electro-mechanical calculators, tabulators, sorters and other office equipment for data processing that IBM had already been selling for decades. A designer can control the transparency of each layer, group them together, change their order, etc. We use view control daily when we change the files “view” between “icons,” “list,” and “columns” (these are the names used in Mac OS X; other operating systems may use different names to refer to the same views). Animation software automates the process of creating in-between drawings by automatically interpolating the values between the keyframes.
However, whenever some physical operations and structures were simulated in a computer, they were simultaneously enhanced and augmented. This process of transferring physical world properties into a computer while augmenting them continues today – think, for instance of the multi-touch interface popularized by iPhone (2007). Thus, while Alan Turing defined the digital computer as a general-purpose simulation machine, when we consider its subsequent development and use, it is more appropriate to think of a computer as a simulation-augmentation machine. For instance, you can select a file name in a directory, a group of pixels in an image, or a set of polygons in a 3D model, and then cut, copy, and paste these objects.

Bull skull tattoo designs quotes
Funny motivational quotes for students zone
Sports quotes good luck