Over the next few years, a growing number of art teachers will be participating in the rites of passage. Time and again, this quiet ritual will begin as educators tidy the desktop clutter of traditional visual art media, making room for the addition of a new computer for their art classroom. This simple act will symbolize a pervasive cultural transformation where digital images have become powerful vehicles for global communication. With cultural changes in mind, forward-looking educators are accepting the need for an art curriculum which includes an increased role for technology and computer-related media. If art students are to comprehend the creative and expressive potential which has come with recent technological changes, they must develop an appreciation for the new and expanding role of computers in the visual arts. If students are going to have the greatest opportunity locating rewarding positions where imagination and visual expression are appreciated, they must gain competence in computer-related imaging.

       A few years ago, when a smidgen of high school art programs were starting to include digital media in their course offerings, some of us in art education concluded that we should gain some hands-on experience with the new digital media. I wanted my art students to have experience with computer art and the Internet. I became determined to acquire a computer system for my students. Now, after several years of "learning the hard way," I find myself giving professional development sessions and conference presentations about technology in the high school art room. If you are thinking of adding computers and related technology to your art program, please allow me to share some experience and offer some words of caution.

Initial Concerns

        Many make the mistake of thinking that "just any old computer will do" for their art room. The majority of computer hardware purchased for use in public schools lack sufficient speed and memory for the demands of digital art applications and image file size manipulation. Your district technology specialist(s) may have some ideas to get you started, but it is also critical that you talk to an experienced digital arts professional or digital graphics educator concerning the best system for your teaching situation. At East Central High School in San Antonio, we started with single Macintosh 6100/60 AV, PowerPC platform for the art room three years age. We now have six computers in my room. The other two art classrooms have at least one comparable computer (making a total of eight), each with quality image-editing software. The newer machines range from Macintosh 5300/100 AVs and 5400/180 AVs to one 5500/250 AV platform. The AV designation is used to indicate that the platforms have a multi-media card installed to allow sound, still image, and movie capture capabilities through input and output ports. Macintosh computers are used at our school because my colleagues in the district technology office prefer their use on our district campuses. From the technology department's point of view, purchasing and service responsibilities are simplified when the majority of the machines in the district are from the same company or use the same operating system.

Speed

        Seldom will a discussion about computer configuration take place without hearing the term megahertz. Microchip processing speed is measured in megahertz. One will frequently hear references made to these speeds when comparing systems, but the performance speed depends on the chip type. At one point, the design of the Pentium chip was touted to be faster than the Mac 608040 chip. Soon there were new claims that the Pentium was out paced by the newer Power PC 604. When looking for a platform for the art room, keep in mind that both the microchip's speed and the chip type will continue to have an impact upon actual system performance.

Selecting a System

        If you are on a limited budget and prefer to use the Windows or Windows 95 operating system, the most inexpensive PC system for digital images begins at a 586 or Pentium with a CPU speed of 133 MHZ. No matter what type of entry level system you start with, your imaging needs and those of your students will soon explore the functional limits of the system's configuration. If you want a Macintosh computer for your classroom but are strapped for funds, the most inexpensive image manipulation system is a Power PC 4400/200. A more powerful, more expensive machine would offer greater options, but the important feature of an advanced Power PC system is the capacity for upgrade and expansion. Upgrade and expansion will be constant ordeals in any area of contemporary technology. An art teacher should be mindful of system objectives beyond the initial purchase of the computer.

        When selecting a computer for digital media, there are additional concerns beyond the operating system, CPU, and processor speed. Image processing systems demand large amounts of memory before reaching their full potential. When it comes to image editing, the amount of random access memory installed on the system will be a primary factor. Without sufficient memory, a computer will crash frequently and restrict its user to limited image layers, dimensions, resolution, and file sizes. Photoshop image files require at least three times the project file size in available RAM to work properly. This powerful software must store the current version of the image, the last "undo" of that image, and the last version of the image saved to disk. When taking advantage of Photoshop's layers in the creation of art, an additional allotment of file space will be needed for each new image layer. In reality, one will need at least five times the image file size in computer memory for smooth application of the powerful image editing tools. I suggest starting with no less than 32 MB of RAM in an entry level system. This rule of thumb can be applied for both the Power PC 4400/200 and Windows or Windows 95 systems. Each case may involve a choice of 16 MB factory installed memory and the addition of an extra 16 MB chip. If additional memory at the time of original purchase is affordable, go for a package with 64 MB or greater. This will save the trouble of a later upgrade. Keep in mind that in the business world, it is not uncommon to find a commercial graphics workstation with RAM of 128 MB or more. If the objective is quality image creation, then we should seek to provide students with a working environment which affords them similar versatility and excellence while learning.

Software

        In contrast to my school's imaging platforms, I prefer Windows 95 operating systems for my home computers. This personal preference probably originated from my early learning experiences with computers which involved an evolution through the old DOS and Windows 3.1 systems. By the time I began teaching in the public school I was very familiar with Windows software. One will frequently hear people with early Macintosh experience use the same argument to justify their preference for a Macintosh machine. Today, versions of most major imaging software are available for either operating system. If we consider that the contemporary working world favors neither system, something can be said for giving students classroom experience on both operating systems. For this reason, I occasionally transport one of my personal platforms to school so the students can get a feel for another operating system. With a little experience they will not feel intimidated if they find themselves at college or a new job where Macintosh platforms are not used.

Learning the System

        After you have purchased a computer and the system is in your classroom, you will do well to maintain communication with an experienced digital graphics professional. Their help will be invaluable when you seek knowledge about your particular platform and the software you have purchased for image processing. In the first months with the new computer you can expect to deal with many system crashes and conflicts. This is a part of the learning ordeal. Image creation and editing projects can quickly push most computer systems past their performance limits.

        Learning to use imaging software will also test the character of the art teacher. Leading graphics applications, such as Photoshop and Fractal Design Painter, may seem easy when you watch a professional demonstration, but it will take months of continued hands-on tutorials and study for you to become productive and fluent. At my school, we struggled with our first system over a period of several semesters trying to master our new imaging software. With only the manuals to guide us, our progress went at a snail's pace. In frustration, we decided to invest in a set of training videos. By that time we had enough experience with the new media to realize that our learning would be accelerated if we could gain a more solid understanding of digital imaging concepts. We also realized that we needed to be able to see demonstrations of the assorted application controls repeated several times to solidify our learning. The video tapes made this kind of learning possible. Certainly, computer imaging courses and classes with hands-on use of particular imaging applications would also have been valuable if they had been available.

Necessary Hardware

        A critical part of your chosen computer involves the quality of its output to its monitor. If money is available, try to resist buying anything smaller than a 17" multi-scan screen since you and your students will be spending countless hours in front of the monitor. It also will be wise to purchase an additional 1MB of Video RAM to allow the display of your digital work with acceptable color depth when you have the system set to the higher screen resolutions. Displaying a digital image on the monitor without adequate VRAM will become another obstruction for both digital imaging and its learning process. Installing more video RAM and/or placing a video accelerator card into one of the slots on the motherboard will facilitate screen redraw at better resolution. When the video has the additional memory, the depth of color can be increased from hundreds to thousands or millions.

        As you gain experience with digital imaging and computer technology continues to improve, you will want to make additional upgrades to the disk storage of your system. For example, if your preliminary system is delivered with 500 MB hard drive space, you will soon want to add an additional 1 or 2 gigabytes of storage when you can afford the improvement. Also, you should consider several computer storage options. Certainly you will need to include at least one 1.44 floppy drive in the original platform. In addition, the workstation should include a removable media device such as a Zip drive, Jaz drive, or Magneto Optical system. Keep in mind that when the removable media is a Small Computer System Interface (SCSI) device, the external drives necessitate the installation of a SCSI controller card if using Windows. SCSI allows numerous peripheral devices, such as removable storage drives and scanners, to be connected together and individually controlled from a single port at the back of the computer. Mac systems usually have the SCSI capability included in the original platform. Large capacity removable media is a real advantage when images are being developed in high resolution for quality printing. The resulting file sizes may well exceed the capacity of the traditional floppy disk. Students need the removable media to easily store large files, transport large files for printing at another location, and to backup the hard disk. In the classroom, removable media for image storage allows for the hard disk of the computer to remain relatively uncluttered. When memory requirements exceed the physical RAM memory, Photoshop takes advantage of hard disk space for temporary storage. This area is called the "scratch disk." This is an asset when applications require large portions of hard disk space.

        Removable media, such as a CD ROM drive, is another important consideration. Removable media will allow for the accumulation of vast quantities of teaching resources. This type of media has become essential because the most recent operating systems, applications, tutorials, and image libraries are being distributed on the CD media. Also, if your system includes sound capabilities and external speakers, the CD drive can provide the added bonus of music from audio disks.

       The World Wide Web can be accessed if the computer is connected to a 2880 baud (or faster) modem, a phone line, an Internet Service Provider, and if the operating system can support Web browsers such as Netscape or Internet Explorer. An art classroom without a phone connection can take advantage of the resources gathered from the Internet by browsing offline. Using an offline browser, the resources can be harvested from the Web at another location, saved to removable media, and transported to the classroom for viewing in Netscape or Internet Explorer. Offline browsing software, such as WebWhacker for the Macintosh or TeleportPro and FlashSite for Windows, will allow easy reconstruction of pages or entire sites for quick offline browsing in the classroom. When working offline, the resources jump to the screen in a fraction of the time it would take them to be displayed while connected to the Internet.

        A quality printer is another valuable addition to the art room hardware inventory. There are several printer related considerations which deserve our attention. The expense of a quality printer, like the Apple Color LaserWriter, may be well beyond the limits of the art technology budget. If this is the case, consider the near-photographic quality of the EPSON Stylus 800 Inkjet printer, the EPSON Stylus Photo Inkjet, or comparable printers. Although these printers are not cheap, they sell at a fraction of the price of the LaserWriter and they are very effective solutions to the occasional need for printed student work. One problem which will inevitably develop when a printer is located in the classroom involves the tendency for many students to print their work without regard for image quality or a certain degree of completion. The art teacher may be wise to locate the printer away from the classroom. Consider exercising the "out of sight, out of mind" theory when possible. In any case, it will be good practice to outline a restrictive policy concerning the conditions of quality and the degree of completion which must be met before the expense of printing student work is justified. When funds are not available for the purchase of an expensive quality printer, educators can consider commercial print and copy services for the occasional hard copy of student images.

        As an alternative to printed images, some art teachers have created relatively inexpensive art department pages with Web galleries to exhibit student art. If you would like to view an example of this method of showing student work, visit the East Central High School webpage at:

http://www.eastcentral.k12.tx.us/echs/artdept/artdept.html

Additional Hardware

        Give serious consideration to the purchase of an AV card and speakers for your Mac Power PC. If you have chosen a Windows system, try to include a video capture card, a sound card, and speakers to gain the AV capability. These additions will ensure that you can turn your classroom into a multimedia learning environment. With the video-in and video-out ports on the card, students can use RCA cables to capture images from a camcorder, VCR, and TV. The ports will allow the effective use of digital movie making applications, such as Adobe Premier, Avid VideoShop, or Video Fusion. When art projects are completed, a VCR, scan converter, and AV computer will allow students to record images and animation onto a standard video tape as a portfolio of their accomplishments. The inexpensive record will be ready for home display using only a VCR and TV. The same technology will allow the instructor to record demonstration sessions on the computer and save them to video tape as valuable teaching resources.

        Another supporting tool for computer art is the digital camera. Camera prices have been dropping and products with higher resolution are coming to the marketplace. These tools allow the user to have a constant flow of images from the school environment and from individuals in the classroom. An assortment of systems are available which can save and download remote shots to the computer using disks or cable connections. Most digital cameras offer resolutions for images which are higher than the 72 PPI (pixels per inch) images captured using a QuickCam system or a camcorder and video capture card.

        We have found that the addition of a camcorder to our imaging system also has some advantages. A camcorder has allowed our students to experience simple movie making in the form of claymation and puppet projects. With a Macintosh AV platform, the films can be recorded as digital movies, saved to removable storage, and then manipulated in movie editing software. Windows will require a video capture, a sound card, and capture software.

        A digitizing pen and pad can supplement the mouse on your graphics workstation. The pads are pressure responsive and your art students will find that the pen is easy to hold and a pleasure to use. Modern applications, such as Fractal Design Painter and Adobe Photoshop, have been developed to take full advantage of pressure sensitive drawing tools. Students with training in traditional media will soon feel right at home with this new digital tool.

       One of the most effective additions for digital imaging in the art classroom is a color flatbed scanner. The scanner will complement the computer as a learning tool in a variety of ways. The device gives students an opportunity to incorporate personal photographs in their computer art. The scanner also allows for the creative use of images from clippings, textures, and shapes discovered in magazines, newspapers, and from the physical world. Students can also use the scanner after developing their art through the preliminary planning and earlier forming stages with traditional media. Less computer time will be required by each student when projects are developed to an advanced level before they are scanned; therefore, a color flatbed scanner will be an asset for the classroom with a limited number of computers.

Outside Assistance

        The art teacher will discover some helpful books about Painter, Photoshop, and other imaging applications to supplement the learning process which come with the new hardware and software. Fractal Design Painter 4 Complete, by Karen Sperling, will return many times its purchase price in the form of tips and explanations. Deke McClelland's Photoshop Bible is thorough and explains a wealth of information in great detail. Color Mac Production Techniques, by Mare Miller and Randy Zaucha, is a definitive source on digital color imaging. One may also find that the expense of training videos from Mac Academy or Windows Academy will help accelerate learning. The tapes can quickly move some of the more attentive students to intermediate stages of digital imaging. These videos include sections where content is quite specific and not directly related to foundational levels of classroom learners; yet other sections of the tapes are quite helpful and can be valuable for both teacher and students. Always remember that outside assistance is imperative to problem solving. Try contacting members of the art education or digital graphics communities on the Internet. These groups are a wealth of practical advice and guidance. Consider joining some or all of these listservs:

			Artsednet, one of the most active art education discussion groups, is a group that boasts a large number of university and K-12 educators who have experience with art technology. Join the list by sending an e-mail to: artednet-request@pub.getty.edu. In the body of the message type: subscribe artsednet. Do not include any text in the subject line of your e-mail message.
			Electronic Media Interest Group of the National Art Education Association is another group of educators who have experience with technology in the classroom. To subscribe to E-News and the EMIG Electronic Mail List, send an e-mail message to: major-domo@cythera.unb.ca. In the body of the message type: subscribe naea-emig (your e-mail address).
			Adobe Photoshop Discussion List includes in its membership many practicing graphic professionals. You can join this e-mail list at: major-domo@cythera.unb.ca. In the body of the message type: sub PHOTOSHOP (your name).
			Graphics Discussion List is another helpful group of practicing design professionals who will have a working knowledge of imaging technology. Join this list at: listserv@ulkyvm.louisville.edu and include in the body: sub GRAPHICS (your name)

The Incredible Art Department offers an extensive list of art education lists at:

http://www.artswire.org/kenroar/links/artedu2.html.

Keeping Up

        The best way to keep up with new products and version upgrades involves browsing through computer magazines and promotional catalogues. When it comes time to buy, look for academic discounts and other purchasing advantages which are available to schools and school districts. Shortly after the newest upgrades are introduced to buyers, older but very acceptable versions of graphics software often come to the market at a fraction of their original prices. Another source where occasional bargain prices for computer hardware and software can be found is through online Web auctions such as www.onsale.com. The conditions surrounding the online auction do not usually match the normal school procedure for purchasing equipment and materials, however, and one accepts an increased risk of poor quality and limited product warranties. I must admit to an occasional online bid for bargains, in spite of the personal expense and the degree of risk that online bidding entails. From my point of view, the small personal investment pays large dividends in the form of student enthusiasm for the diversity of imaging tools and equipment which they experience in my classroom.

        Repair and system support are also concerns. Your district technology office and other administrative contacts may have extensive purchasing and service or repair contract experience which can take loads of future frustration off of the shoulders of the classroom teacher.

        One soon discovers that computer and software prices are always dropping. This translates into the realization that the classroom platform and supporting technology that you choose for purchase today could be only a third of the price next year! Some schools have turned to equipment leases as a way to deal with the dropping values and to ensure that their equipment costs are spread out over time. Any capital investment that is made for technology is not going to hold its value in this climate of change, but this is the price we must pay for providing our students with a quality and applicable exposure to the technological tool of their future.

Robert A. Fromme is an art teacher at East Central High School in San Antonio, Texas.