Free Computer Wallpapers
Biography
Source(Google.com.pk)
Computer wallpaper printing techniques include surface printing, gravure printing, silk screen-printing, rotary printing, and digital printing. Wallpaper is made in long rolls which are hung vertically on a wall. Patterned wallpapers are designed so that the pattern "repeats" and pieces cut from the same roll can be hung next to each other so as to continue the pattern without it being easy to see where the join between two pieces occurs. In the case of large complex patterns of images this is normally achieved by starting the second piece halfway into the length of the repeat, so that if the pattern going down the roll repeats after 24 inches the next piece sideways is cut from the roll to begin 12 inches down the pattern from the first. The number of times the pattern repeats horizontally across a roll does not matter for this purpose.[1] A single pattern can be issued in several different colorwaysscreenwriter, producer and the chief creative officer at Pixar and Walt Disney Animation Studios. He is also currently the Principal Creative Advisor for Walt Disney Imagineering.Lasseter's first job was with The Walt Disney Company, where he became an animator. Next, he joined Lucasfilm, where he worked on the then-groundbreaking use of CGI animation. After the Graphics Group of the Computer Division of Lucasfilm was sold to Steve Jobs and became Pixar in 1986, Lasseter oversaw all of Pixar's films and associated projects as executive producer and he directed Toy Story, A Bug's Life, Toy Story 2, Cars, and CarsHe has won two Academy Awards, for Animated Short Film (for Tin Toy), as well as a Special Achievement AwardLasseter was born in Hollywood, California. His mother, Jewell Mae (née Risley), was an art teacher at Bell Gardens High School, and his father, Paul Eual Lasseter, was a parts manager at a Chevrolet dealership.[4][5][6] Lasseter grew up in Whittier, California. His mother's profession contributed to his growing preoccupation with animation. He often drew cartoons during church services at the Church of Christ his family attended. As a child, Lasseter would race home from school to watch Chuck Jones cartoons on television. While in high school, he read The Art of Animation by Bob Thomas. The book covered the history of Disney animation and the making of a book about Sleeping Beauty, which made Lasseter realize he wanted to do animation himself. When he saw Disney's 1963 film The Sword in the Stone, he finally made the decision that he should become an animatorHis education began at Pepperdine University. It was the alma mater of both his parents and his siblings. However, he heard of a new program at California Institute of the Arts and decided to leave Pepperdine to follow his dream of becoming an animator. His mother further encouraged him to take up a career in animation, and in 1975 he enrolled as the second student in a new animation course at the California Institute of the Arts. Lasseter was taught by three members of Disney's "Nine Old Men" team of veteran animators – Eric Larson, Frank Thomas and Ollie Johnston – his classmates included Brad Bird, John Musker, Henry Selick and Tim Burton.[8] During his time there, he produced two animated shorts; Lady and the Lamp (1979) and Nitemare (1980), which both won the student Academy Award for Animation.[9] (for Toy Story).[3]On graduation, Lasseter joined The Walt Disney Company, and was promoted quickly up the ranks to a Jungle Cruise skipper at Disneyland in Anaheim.[10] Lasseter later obtained a job as an animator at Walt Disney Feature Animation, but felt something was missing; after 101 Dalmatians, which in his opinion was the film where Disney had reached its highest plateau, the studio had lost momentum and was criticized for often repeating itself without adding any new ideas or innovations. he coincidentally came across some video tapes from one of the then new computer-graphics conferences, who showed some of the very beginnings of computer animation, primarily floating spheres and such, which he experienced as a revelation.[13] But it wasn't until shortly after, when he was invited by his friends Jerry Rees and Bill Kroyer, while working on Mickey's Christmas Carol, to come and see the first lightcycle sequences for an upcoming film entitled Tron, featuring (then) state-of-the-art computer generated imagery, that he really saw the huge potential of this new technology in animation. Up to that time, the studio had used a multiplane camera to add depth to its animation. Lasseter realized that computers could be used to make films with three dimensional backgrounds where traditionally animated characters could interact to add a new, visually stunning depth that had not been conceived before.
Source(Google.com.pk)
Computer wallpaper printing techniques include surface printing, gravure printing, silk screen-printing, rotary printing, and digital printing. Wallpaper is made in long rolls which are hung vertically on a wall. Patterned wallpapers are designed so that the pattern "repeats" and pieces cut from the same roll can be hung next to each other so as to continue the pattern without it being easy to see where the join between two pieces occurs. In the case of large complex patterns of images this is normally achieved by starting the second piece halfway into the length of the repeat, so that if the pattern going down the roll repeats after 24 inches the next piece sideways is cut from the roll to begin 12 inches down the pattern from the first. The number of times the pattern repeats horizontally across a roll does not matter for this purpose.[1] A single pattern can be issued in several different colorwaysscreenwriter, producer and the chief creative officer at Pixar and Walt Disney Animation Studios. He is also currently the Principal Creative Advisor for Walt Disney Imagineering.Lasseter's first job was with The Walt Disney Company, where he became an animator. Next, he joined Lucasfilm, where he worked on the then-groundbreaking use of CGI animation. After the Graphics Group of the Computer Division of Lucasfilm was sold to Steve Jobs and became Pixar in 1986, Lasseter oversaw all of Pixar's films and associated projects as executive producer and he directed Toy Story, A Bug's Life, Toy Story 2, Cars, and CarsHe has won two Academy Awards, for Animated Short Film (for Tin Toy), as well as a Special Achievement AwardLasseter was born in Hollywood, California. His mother, Jewell Mae (née Risley), was an art teacher at Bell Gardens High School, and his father, Paul Eual Lasseter, was a parts manager at a Chevrolet dealership.[4][5][6] Lasseter grew up in Whittier, California. His mother's profession contributed to his growing preoccupation with animation. He often drew cartoons during church services at the Church of Christ his family attended. As a child, Lasseter would race home from school to watch Chuck Jones cartoons on television. While in high school, he read The Art of Animation by Bob Thomas. The book covered the history of Disney animation and the making of a book about Sleeping Beauty, which made Lasseter realize he wanted to do animation himself. When he saw Disney's 1963 film The Sword in the Stone, he finally made the decision that he should become an animatorHis education began at Pepperdine University. It was the alma mater of both his parents and his siblings. However, he heard of a new program at California Institute of the Arts and decided to leave Pepperdine to follow his dream of becoming an animator. His mother further encouraged him to take up a career in animation, and in 1975 he enrolled as the second student in a new animation course at the California Institute of the Arts. Lasseter was taught by three members of Disney's "Nine Old Men" team of veteran animators – Eric Larson, Frank Thomas and Ollie Johnston – his classmates included Brad Bird, John Musker, Henry Selick and Tim Burton.[8] During his time there, he produced two animated shorts; Lady and the Lamp (1979) and Nitemare (1980), which both won the student Academy Award for Animation.[9] (for Toy Story).[3]On graduation, Lasseter joined The Walt Disney Company, and was promoted quickly up the ranks to a Jungle Cruise skipper at Disneyland in Anaheim.[10] Lasseter later obtained a job as an animator at Walt Disney Feature Animation, but felt something was missing; after 101 Dalmatians, which in his opinion was the film where Disney had reached its highest plateau, the studio had lost momentum and was criticized for often repeating itself without adding any new ideas or innovations. he coincidentally came across some video tapes from one of the then new computer-graphics conferences, who showed some of the very beginnings of computer animation, primarily floating spheres and such, which he experienced as a revelation.[13] But it wasn't until shortly after, when he was invited by his friends Jerry Rees and Bill Kroyer, while working on Mickey's Christmas Carol, to come and see the first lightcycle sequences for an upcoming film entitled Tron, featuring (then) state-of-the-art computer generated imagery, that he really saw the huge potential of this new technology in animation. Up to that time, the studio had used a multiplane camera to add depth to its animation. Lasseter realized that computers could be used to make films with three dimensional backgrounds where traditionally animated characters could interact to add a new, visually stunning depth that had not been conceived before.
Free Wallpaper Download For Desktop
Free Wallpaper Download For Desktop
Free Wallpaper Download For Desktop
Free Wallpaper Download For Desktop
Free Wallpaper Download For Desktop
Free Wallpaper Download For Desktop
Free Wallpaper Download For Desktop
Free Wallpaper Download For Desktop
Free Wallpaper Download For Desktop
Free Wallpaper Download For Desktop
Free Wallpaper Download For Desktop
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