The KoalaPad, an advanced graphic tablet introduced in 1983, reduces the cost and the degree of programing background required to create sophisticated images on the microcomputer. The potentials of the KoalaPad for use in an art education program are discussed, and recommendations for creating a microcomputer graphics lab are presented. (RM)

A consultant tells about her experiences in helping a small college to develop and install a computer graphics program. Educators must take care when planning because, although some aspects of computer graphics may be attractive and seductive, they may not be practical for a particular situation. (RM)

Through graphic art courses, art teachers can provide students with an understanding of how computers work and how to solve problems with them. How to design a graphics program is discussed. (RM)

Adolescents react very positively to computer graphics programs. The biggest obstacle to initiation of computer art in schools is teacher attitudes. Things to consider when starting a computer graphics program are discussed, and some illustrations of student computer art are provided. (RM)

Summarizes the conclusions reached by art educators who discussed the kinds of computer knowledge and skills required by preservice teachers. Identifies two categories: fine arts (visual expression, graphic design, and aesthetics) and art education (knowledge about hardware and software, applications, management, and interdisciplinary…

Discusses the origins of an exemplary model to serve as a guide for the implementation of computer graphics in the art classroom. Describes how the "Indiana Computer Graphics Cadre" developed a curriculum guide and organized workshops to instruct other art teachers in this area. (KM)

Examines the nature and future of computer graphics as an art form. Characterizes four basic beliefs about art and considers their relevance to computer graphics. Discusses the special qualities of computer graphics and how they can enrich art instruction. (MJP)

Discusses three issues pertaining to the use of interactive graphic hardware and software in schools: (1) computer graphic production processes; (2) the social dynamics of computer graphics production in school; and (3) the qualities of imagery. Concludes that art educators must consider what particular art concepts could and should be taught…

Notes the astonishing leap in capability and versatility of computers and considers their current and future use in art education. Lack of technical expertise is no longer a hindrance, as the current technology is user-friendly. Considers the computer's role in assessment, curriculum development, and research. (MJP)

Recommends asking a basic question "What am I trying to teach?" when considering the use and adaptation of computers in art classes. Suggests testing a system to ascertain possibilities, limitations, and particular characteristics. Maintains that computer art is often simply a starting point for other projects. (MJP)

Provides four lesson plans using discipline-based art education techniques to examine the content and technique of a series of art works portraying Texas. The lesson plans use "mind mapping" (nonlinear visualization of a concept or idea easily linked to others). Includes background information on artists Bruno Andrade, Dennis Blagg,…

Summarizes negative aspects of computer technology and problems inherent in the field of digital imaging. Considers the postmodernist response that borrowing and alteration are essential characteristics of the technology. Discusses the implications of this for education and research. (MJP)