ENVIRONMENT

AND
GRAPHIC








Introduction
Environment:

The environment is the biotic and abiotic surrounding of an organism or
population, and includes particularly the factors that have an influence in
their survival, development and evolution.
[1]
The naked term environment can
make reference to different concepts, but it is often used as a short form for
the biophysical environment. This practice is common, for instance, among
governments, that usually name their departments and agencies dealing with
the biophysical environment with denominations like Environment Agency.
Whereas the expression "the environment" is often used to refer to the global
environment, usually as referred to humanity, the number of biophysical
environments is countless, given that it is always possible to consider an
additional living organism that has its own environment.

The biophysical environment can vary in scale from microscopic to global in
extent. They can also be subdivided according to their attributes. Some
examples may be the marine environment, the atmospheric environment and
the terrestrial environment.

Life has to be adapted to the conditions of its environment. Temperature,
light, humidity, soil nutrients, etc., all influence any species, within any
environment. However, life by its activity in turn modifies, in various forms,
the conditions themselves. Some long term modifications along the history of
our planet have been significant, such as the incorporation of oxygen to the
atmosphere. This process consisted in the breakdown of carbon dioxide by
anaerobic microorganisms that used the carbon in their metabolism and
released the oxygen to the atmosphere. This led to the existence of oxygen-
based plant and animal life (Great oxygenation event). Other interactions are
more immediate and simple, such as the smoothing effect that forests have on
the temperature cycle,compared to neighboring unforested areas.
cycle,compared to neighboring unforested areas.
The natural environment encompasses all living and non-living things
occurring naturally on Earth or some region thereof. It is an environment that
encompasses the interaction of all living species.
[1]
The concept of the natural
environment can be distinguished by components:
Complete ecological units that function as natural systems without
massive human intervention, including all vegetation, microorganisms,
soil, rocks, atmosphere, and natural phenomena that occur within their
boundaries.
Universal natural resources and physical phenomena that lack clear-cut
boundaries, such as air, water, and climate, as well as energy, radiation,
electric charge, and magnetism, not originating from human activity.
The natural environment is contrasted with the built environment, which
comprises the areas and components that are strongly influenced by humans.
A geographical area is regarded as a natural environment.


Graphics:

Graphics (from Greek graphikos) are visual presentations on some
surface, such as a wall, canvas, screen, paper, or stone to brand, inform,
illustrate, or entertain. Graphics word is derived from the word graph. A graph
has x and y axis. Same way something which is created in digital word is seen
on a digital screen, this screen also has x and y axis. So the output on any
digital device is termed as graphics. In other words an image that is generated
by a computer is called graphics. The pictorial representation and
manipulation of data, as used in computer-aided design and manufacture, in
typesetting and the graphic arts, and in educational and recreational
programs.
Examples are photographs, drawings, Line
Art, graphs, diagrams, typography, numbers, symbols, geometric designs, map
s, engineering drawings, or other images. Graphics often
combine text,illustration, and color.
Graphic design may consist of the deliberate selection, creation, or
arrangement of typography alone, as in a brochure, flier, poster, web site, or
book without any other element. Clarity or effective communication may be
the objective, association with other cultural elements may be sought, or
merely, the creation of a distinctive style.
Graphics can be functional or artistic. The latter can be a recorded version,
such as a photograph, or an interpretation by a scientist to highlight essential
features, or an artist, in which case the distinction with imaginary graphics
may become blurred.
Computer graphics are graphics created using computers and the
representation of image data by a computer specifically with help from
specialized graphic hardware and software.
The interaction and understanding of computers and interpretation of data
has been made easier because of computer graphics. Computer graphic
development has had a significant impact on many types of media and have
revolutionized animation, movies and the video game industry.

The term computer graphics has been used in a broad sense to describe
"almost everything on computers that is not text or sound".[1] Typically, the
term computer graphics refers to several different things:
The representation and manipulation of image data by a computer
The various technologies used to create and manipulate images
The sub-field of computer science which studies methods for digitally
synthesizing and manipulating visual content, see study of computer
graphics.
Computer graphics is widespread today. Computer imagery is found on
television, in newspapers, for example in weather reports, or for example in
all kinds of medical investigation and surgical procedures. A well-constructed
graph can present complex statistics in a form that is easier to understand and
interpret. In the media "such graphs are used to illustrate papers, reports,
thesis", and other presentation material.
Many powerful tools have been developed to visualize data. Computer
generated imagery can be categorized into several different types: two
dimensional (2D),three dimensional (3D), and animated graphics. As
technology has improved, 3D computer graphics have become more common,
but 2D computer graphics are still widely used.
Computer graphics has emerged as a sub-field of computer science which
studies methods for digitally synthesizing and manipulating visual content.


Environment and Graphics:

The computers high-resolution display of screen images provides a new
palette for the brush strokes of ones mind. Space pictures arrive as shuttle,
satellite, and computer-generated images. Imaging is distinguished as the
acquisition, enhancement, re-representation, and re-distribution of a graphic
for analysis and reporting. Visualization is distinguished as the
representation of data using software tools. Imaging and visualization
changes our orientation and focus in problem solving and students have many
opportunities for image analysis of Earth and the solar system. From these
opportunities, students can better understand key concepts in Earth science;
develop skills of scientific thinking and problem solving; and conduct their
own Earth investigations.Students may encounter this technology in medical
imaging, neuroscience, pollution studies, and weather mapping.
Environmental graphic design is a design profession embracing many design
disciplines including graphic design, architecture, industrial design and
landscape architecture. Practitioners in this field are concerned with the
visual aspects of wayfinding, communicating identity and brands, information
design, and shaping a sense of place.Examples of work produced by EGD
include the design and planning of sign programs, wayfinding consulting.



Satellite Capabilities


A final piece in the use of imaging in environmental exploration is the
perspective of space-satellite systems. A complete space system consists of
five different segments to be fully functional. They are the:
Space segment (the satellite you want to launch and orbit for
exploration);
Ground segment (the common user or mission unique system where
you talk to satellites);
Communications (the means for talking between the space and ground
segments);
Launch segment (the rocket to put your satellite into orbit); and
User segment (the people funding the segment and desiring data
gathered by your satellite).

One can see that this space-based enterprise of remote sensing is an
expanding industry and sponsored government initiative. Not only in the
United States but also throughout the world. While many of these segments
are completely operational for military systems; today they provide more
information to the general public, easily accessible over the World Wide Web
network.
The use of satellite data for disaster analysis and planning of relief for injured
individuals or displaced families can be very effective but only if the satellite
can acquire imagery almost immediately after the event. In the future, look
for the possibility of sensors that can point to geographic locations or
phenomena while in orbit.
Environmentalists, newly acquainted to the use of computer technology in
environmental education may now add understanding of space- based
technology to obtain endeavor of remote sensing provides a rich natural basis
for curriculum planning and learning activities to motivate students and assist
education planners in the implementation of Pennsylvanias Environment and
Ecology as well as Science and Technology Standards.
What is needed is the creative environmental educator to cultivate classroom
technology-adapted learning environments a more complete picture of
environmental conditions. As for the schools and teachers, this
interdisciplinary.







Computer Graphics



The use of and relevance of computer graphics has blossomed in many areas
in the past 20 years, ranging from the studio arts to new mathematical
disciplines such as computational geometry. The areas in which graphics have
arguably had the most impact?and certainly the most visibility?can loosely be
categorized as entertainment and advertising, scientific visualization, and
industrial design.

Entertainment and Advertising

No doubt the most stylish deployment of computer graphics today is in
Hollywood and on Madison Avenue. Special effects, photographic
manipulations, computer animation, and other digital trickery routinely spice
up (often otherwise dull) movies and ad spots. Students are aware that many
of these effects based as they are on generating shapes and transforming
shapes over time?are inherently geometric in nature. From the perspective of
classroom geometry, these graphics applications can be great motivators. As
Walter Whiteley once pointed out to me, if Pixar can win Academy Awards for
Tin Toy and Toy Story, then the lesson to students is clear: you can get an
Oscar for being a geometer!

Scientific Visualization

Though slightly less glamorous than Hollywood, scientific visualization forms
a second important focus of computational modeling and graphics efforts.
Here, computer-generated illustrations and simulations are used to depict the
structure of objects that cannot otherwise be inspected because they are too
small (e.g., chemical compounds and crystal structures), too large (global
weather patterns), too remote (topography of distant planets), too abstract
(such as multi-dimensional mathematical manifolds), or too dangerous (such
as atmospheric conditions in the eye of a hurricane and in deep ocean
trenches). In fact, most computer graphics technologies are originally
developed to provide some new tools to the scientific visualization
community, and then later reappear in less expensive applications within
other domains. The visualization technologies that this past summer allowed
engineers at Pasadena's Jet Propulsion Labs to "pre-drive" a simulated robot
rover across a three-dimensional, virtual reconstruction of the Martian
landscape (before uploading the day's driving route, by slow satellite signal, to
the actual Sojourner rover on Mars) will no doubt reappear in driving
simulators in next summer's video arcades.
Industrial Desgn


Computer-aided design (CAD; and computer-aided manufacture, CAM) form
computer graphics' third major bailiwick. Designers today routinely employ
computerized visualizations and structural models to test industrial artifacts
(mass-produced consumer goods, airplanes, vehicles, buildings, bridges, etc.)
for safety, cost, utility, and efficiency before manufacturing a first physical
prototype.
Geometry often plays a novel role in resolving a central tension faced by
industrial designers. On the one hand, it's essential to have a precise
mathematical model and symbolic representation of a new design, so that it
can be exhaustively analyzed for the previously mentioned viability factors
(safety, efficiency, and so forth). But on the other, if one is designing a new
automobile, one can't test-drive an equation from the blackboard! Geometry
mediates between these conflicting desires?for a precise symbolic
representation of the engineered object, and for a fluid, artistic visualization of
it?by defining the intersection of analytic and aesthetic characteristics of
shape.







Multiscale Applications in Computer Graphics:

Computer graphics is a broad domain touching many areas of our lives
through computers everywhere. The images the user sees are merely
the externally visible signs of a rich world of underlying mathematical
representations of objects and operators. In a fundamental sense,
computer graphics is about building models of the real world and
manipulating them efficiently for broad access by many different
people. For example, content based image retrieval attempts to extract
meaning from pixels; image compression delivers rich multi media
content to inner city schools over low bandwidth, low cost channels;
animation of creatures delights and entertains millions; simulation
based design promises to revolutionize manufacturing and commerce.
As dataset sizes grow and the insatiable appetite for ever higher fidelity
shows no signs of abating, scalable representations and algorithms are
of utmost importance. This includes all stages of acquisition,
manipulation, editing, simulation, transmission, and display, and
pervades all applications of graphics.

Multiresolution representations based on wavelets have already shown
great promise as powerful tools in computer graphics research [S96a]
and are now rapidly moving into computer graphics practice [SS96]. A
particular challenge to computational harmonic analysis presented by
these applications is the sheer size of geometry to be manipulated.
Classical methods are rarely applicable as the geometry is typically of
arbitrary topology and its connectivity highly irregular. Additionally,
researchers have found that redundent representations often offer
better asymptotics or are much more amenable to manipulation
[ZSS97]. Most current approaches either attempt to "warp" classical
constructions (with mixed success) or are based on semi-regular
subdivision approaches [ZSS97], [SS95], [LSSCD97]. First steps have
been taking into completely irregular settings [DGS98], but we are only
at the beginning to build tools in this setting.
One area in particular the calls out for such tools is the acquisition,
processing, modeling, and transmission of large scale, complex
geometry. Today, range scanners are available to acquire samples of the
geometry of real world objects at high rates and at times high accuracy.
The application domains are very broad and include education (e.g.,
acquiring models of museum sculptures for access on the WWW);
entertainment (e.g., special effects); reverse engineering (e.g., building
CAD models for object which may not even have documented
drawings); medical diagnostics (e.g., using volumetric imaging
techniques for non-invasive examination); scientific computing (e.g.,
running solid mechanics simulations using real world objects as
boundary conditions); and commerce (e.g., industrial parts databases
for access over the WWW).
There are many interesting problems in computer graphics which can
benefit from multiresolution ideas and algorithms. We list here a few
such areas, which are by no means meant to be exclusive. Some of these
arise in the processing of data coming from 3D range scanners. The
main challenge there is that the data is not neatly arranged on a regular
and "lives" on arbitrary, piecewise smooth two-manifolds (possibly with
boundaries). Some applications are:
Denoising of range data: Some simple noise models exist for the
acquisition process of structured light range scanners, for
example. Since the output is a set of 3D points whose noise is a
function of 3D space and the underlying geometry itself,
straightforward application of image denoising methodologies is
not applicable. How can such data be denoised while respecting
the intrinsic geometry and important features of the underlying
real world object?

Numerical solution of PDEs: Once a model is built many
engineering applications call for the solution of PDEs over the
surface of the model. Without multiresolution decompositions of
highly irregular geometry the asymptotics of solving elliptic PDEs,
for example, are overwhelming. How can we build smooth
constructions with the appropriate approximation order over
irregular triangulations of arbitrary topology, piecewise smooth
surfaces?
Compression: Once we can acquire and manipulate large scale
geometry, compressing it for efficient storage and transmission
will be tremendously important. It is intuitively clear that
multiresolution methods offer great promise for efficiently
encoding arbitrary connectivity meshes. The details are not
understood at all at this point. For example, simple quantization
of vertex positions quickly leads to topological catastrophies such
P r o b l e m s
as inverted or zero area triangles. How can we build
multiresolution compression and encoding schemes in this
setting?

Geometric Design and Computation
The Geometric Design and Computation group is engaged in both fundamental
and applied research in developing methods for representing, specifying,
manipulating, and visualizing geometric models. The group has projects
ranging from early conceptual design methods to innovative manufacturing
processes and from detail modeling applications to large-scale assembly
systems. Supporting these applications is fundamental work on surface and
model representation, computational geometry, topology, differential
geometry, and numerical methods.
Simulation and Electronic Animation
While exploding trucks and collapsing buildings are rare occurrences in
everyday life, they are frequently depicted in films, video games, and training
simulations. Filming such effects in the real world can be dangerous and
obtaining a specific outcome is often difficult. Consequently, such effects are
increasingly generated through physical simulations where initial conditions
and parameters can be tuned to produce the desired effect. Research in the
Simulation and Electronic Animation Lab is focused on developing tools that
allow artists to create high-quality, realistic, visually-detailed animations of
complex materials for applications in computer graphics.
Visual Perception and Spatial Cognition
The ability to perceive our spatial surroundings is critical to tasks ranging
from grasping nearby objects to complex navigation through an unfamiliar
environment. Our group examines visual perception and spatial cognition
with a multidisciplinary approach involving psychology and computer science
in the service of both basic and applied research goals.


Graphics are visual elements often used to point readers and viewers to
particular information. They are also used to supplement text in an effort to
aid readers in their understanding of a particular concept or make the concept
more clear or interesting. Popular magazines, such as TIME, Wired and
Newsweek, usually contain graphic material in abundance to attract readers,
unlike the majority of scholarly journals. In computing, they are used to create
a graphical interface for the user; and graphics are one of the five key
elements of multimedia technology. Graphics are among the primary ways of
advertising the sale of goods or services.

Business:

Graphics are commonly used in business and economics to create financial
charts and tables. The term Business Graphics came into use in the late 1970s,
when personal computers became capable of drawing graphs and charts
instead of using a tabular format. Business Graphics can be used to highlight
changes over a period of time.

Advertising:
Advertising is one of the most profitable uses of graphics; artists often do
advertising work or take advertising potential into account when creating art,
to increase the chances of selling the artwork.

Political:
The use of graphics for overtly political purposescartoons, graffiti, poster
art, flag design, etc.is a centuries old practice which thrives today in every
part of the world. The Northern Irish murals are one such example. A more
recent example is Shepard Fairey's 2008 U.S. Presidential election Barack
Obama "Hope" poster. It was first published on the web, but soon found its
way onto streets throughout the United States.

Education:
Graphics are heavily used in textbooks, especially those concerning subjects
such as geography, science, and mathematics, in order to illustrate theories
and concepts, such as the human anatomy. Diagrams are also used to label
photographs and pictures.

Educational animation is an important emerging field of graphics. Animated
graphics have obvious advantages over static graphics when explaining
subject matter that changes over time.
The Oxford Illustrated Dictionary uses graphics and technical illustrations to
make reading material more interesting and easier to understand. In an
encyclopedia, graphics are used to illustrate concepts and show examples of
the particular topic being discussed.
In order for a graphic to function effectively as an educational aid, the learner
must be able to interpret it successfully. This interpretative capacity is one
aspect of graphicacy.

Film and animation:


Computer graphics are often used in the majority of new feature films,
especially those with a large budget. Films that heavily use computer graphics
include The Lord of the Rings film trilogy, the Harry Potter films, Spider-Man
and War of the Worlds.












Environmental applications of graphics:

Changes to the visual character of the landscape can become a key issue
capable of influencing the outcome of an Environmental Impact Assessment
(EIA). These changes are commonly referred to as visual impact, and it is
recognised, unlike many other aspects of EIAs, that Visual Impact Assessment
(VIA) relies less upon measurement than upon experience and judgement
(IEATLI, 1995). Currently, there are very few quantitative techniques for the
evaluation of visibility and it is mostly assessed qualitatively since it is
concerned with the human appreciation of the landscape (Zewe and Koglin,
1995 and Wherrett, 2002). The main problem with qualitative techniques in
assessing visual impact is that they may lead to bias due to their inherent
subjectivity, hence there is a need for a more structured and consistent
approachtowardsVIA.

To reduce the subjectivity currently associated with VIAs, new quantitative
techniques have been developed and existing spatial and qualitative
techniques have been improved upon. The techniques developed in this
research use Computer Graphics (CG) technology, including the field of Virtual
Reality (VR).

A quantitative method to calculate percentage view change has been
developed that allows the accurate determination of the variation in any view,
caused by an existing or proposed development. The method uses three
dimensional (3D) CG models of an environment and software that has been
developed using a scripting language from a 3D modelling software package. A
new method has also been developed to create Fields of Visual Influence
(FVIs) using standard 3D modelling techniques. The method improves upon
the accuracy and efficiency of existing FVI techniques. A novel VR simulation
technique has also been developed that attempts to reduce the subjectivity
associated with simulations, by integrating quantitative and spatial
techniques.








Impacts of Graphics on Environment:

The graphic design industry draws on energy, water, paper, inks, solvents and
packaging. Designers make decisions that 'lock-in' potential environmental
impacts associated with the life cycle of their designs.
The size, shape, colour, printing style and paper stock choices made by a
designer will ultimately determine the size of the ecological footprint. By
making informed decisions, designers can reduce their environmental impact,
resulting in less greenhouse gas emissions and a more efficient use of natural
resources.

One of the most significant environmental issues associated with the design
industry is the use of paper. As many designs are created and produced for
printing, it is vital that efforts are made to reduce the amount of paper
required to fulfill the function of the design. Additional impacts also occur
during the printing process through the use of inks and solvents, and the
packaging of the final product.

Paper:
Despite the rise of electronic information systems paper products remain an
important commodity in today's society. During 2002 and 2003 Australians
consumed 4,011,000 tonnes of paper which, according to Clean Up Australia,
is enough to fill semitrailers lined up from Melbourne to Perth. Each stage of
the life cycle of paper - from the manufacture, sourcing, application, use and
disposal at end of life - has an impact on the environment.
The life cycle of paper starts even before the felling of trees for pulp. The steel
and fuel needed for the machines comes from other industries with their own
environmental impacts. Once the trees are cut down they are turned into
chipping, then transported, pulped, bleached and finally manufactured into
paper. Each of these stages uses valuable resources, and releases pollutants
such as Volatile Organic Compounds (VOCs) and greenhouse gases into the
environment.
Other environmental impacts include:
contribution to landfill through discarded paper and cardboard
greenhouse gas emissions through the energy required during the
paper's life cycle
toxic emissions from chemical use during the bleaching process
eutrophication and other contamination of waterways from process
effluent
resource depletion through the use of natural resources such as timber
and water.

There is a rising trend to use plantation timbers in paper production but these
also have an impact on the environment as they require a lot of water during
growth and create a monoculture (only one species of plants), which generally
does not support ecological diversity. When selecting paper, the best option is
to go for certified papers such as those with the Forest Stewardship Council
(FSC) logo.
Consider these things when selecting paper:
select certified paper stocks (such as FSC paper)
reduce the GSM of the paper stock
downsize your product to require less paper
use both sides of the paper where appropriate
find alternatives to printing
design the layout to make the most use of the paper during printing
combine print runs to reduce wastage
reduce the use of white space in a design to save paper

Inks and solvents
Inks and solvents can contain pollutants and create emissions that contribute
to environmental pollution. Many printing inks and solvents contain volatile
organic compounds (VOCs) that contribute to climate change. Also, when
VOCs are emitted and mix with vehicle exhaust they can form photochemical
smog.
The printing industry uses over 36,000 tonnes of ink each year[1] and uses
solvents to clean machinery during the printing process, which also contribute
to VOC emissions. In addition, some inks contain toxic heavy metals such as
lead, cadmium and barium, which can pose major health and environmental
risks if they find their way into the natural environment.
During printing, waste ink is produced through colour changes, press cleaning
and poor ink management. Some of this waste ink can be captured and reused
which in turn reduces disposal and ink purchasing costs. Spent inks can be
blended together to make a high quality black ink.
Most conventional inks come in non-recyclable packaging. However, there are
some newer packaging options for inks that can be recycled so ask your
printer what type of packaging their inks come in and request a recyclable
option.
The best way to reduce the environmental impact of a print run is to reduce
the amount of ink required, and to use alternatives such as water or vegetable
based inks that have low or no VOC emissions. Some "alternative" vegetable
based inks still have high levels of VOC emissions, so it is important to always
preference inks that have low VOCs.

You can also reduce the impact of inks and solvents in printing by:
avoiding petrochemical based inks where possible
avoiding inks that contain heavy metals such as lead, cadmium and
barium
preferencing inks packaged in recycled content and recyclable
packaging
avoiding, where possible, using varnishes, UV inks, metallic and
fluorescent inks, and treated papers
Ppeferencing printers who recycle their inks and solvents
reducing ink use by downsizing, avoiding block colours, minimising
diversity of colours and not bleeding to the edge.

Printing
In Australia, according to industry publications, there are 5,500 commercial
printers with many companies starting to promote environmentally
responsible printing. Alternative printing options being offered include: low
and VOC-free inks, recycled and certified paper stocks, waterless printing and
achieving ISO14001 or equivalent standards of environmental management.
A significant concern with printers is emissions to air and water, and solid
waste. Printers who have some form of environmental accreditation or
management system have considered their emissions. When selecting a
printing service, always ask the printer about how they deal with their waste
and what measures they take to reduce their air and water emissions.
Printing service quick checklist:
avoid thermography and foil stamping where possible
preference printers with environmental accreditation and commitments
for small-run publications use digital printing, and for larger products
use offset lithography
ask if your printer captures and reuses waste inks, or encourage them to
do so
combine print jobs for smaller runs
make sure that all offcuts, damaged stock, scrap paper and packaging
are recycled
ask for inks that come in recyclable packaging
ask if they have any filtration systems for filtering solvents
look for digital or waterless printing techniques that minimise waste
preference new machines that incorporate water-cooling systems and
are more energy efficient
ask if they use green power
choose printers that have recycled paper stock as a standard option

Design for the web
When designing for the web, it is important to consider what might happen to
the design if it is printed. Whilst techniques such as white text on a black
background facilitates onscreen reading and can reduce the power
consumption of computers, it wastes huge amounts of ink when printed. This
is also true of web pages that, when printed, run onto two or more pages
resulting in the waste of paper.
When designing for the web it is important to consider what content might be
printed, and always provide a printable version of a web page that is easy to
find on the screen.
Another key issue with web design and development is the energy required to
operate Internet and IT servers. Try to find a provider who is reducing their
carbon output through green energy or other alternatives.
Office energy use
Graphic designers are avid computer users, which consume large amounts of
energy and contribute to climate change. Switching a proportion of your
electricity to green power - even if it's only 20 per cent - will reduce your
carbon footprint.
Other steps to reducing energy consumption include:
always switching your computer off at the wall overnight or when it is
not in use
programming your computer to switch to 'power save' mode when not
used for 10 minutes
when purchasing new equipment, selecting items with the lowest
energy consumption
not leaving laptops charging for longer than necessary as some models
still use power even after the charge has finished
using laptops which use less energy than desktops as a general rule of
thumb
switching off printers and fax machines when not in use
avoiding over-illuminated work areas and using natural light instead, or
providing task lighting on each desk to reduce the need for overhead
lights




Conclusion:

Hence in the above report we have seen how Graphics is related to
environment. A brief description of application sof graphics in environment and
also the various impacts have been discussed.





References:

www.google.com
www.wikipedia.com
www.en.wikipedia.org