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As a composer of music, I soon found that I enjoyed playing the drawing parameters in real time like a musical instrument. I could move around in an image and change the size, colour, texture and other parameters in real time as I drew, using knobs and switches just like those on the GROOVE music com- puter down the hall. I would draw with one hand while manipulating the various visual parameters with my other hand using the 3D joystick, switches, push buttons and knobs.

Figure 2 As a composer of music, I soon found that I enjoyed playing the drawing parameters in real time like a musical instrument. I could move around in an image and change the size, colour, texture and other parameters in real time as I drew, using knobs and switches just like those on the GROOVE music com- puter down the hall. I would draw with one hand while manipulating the various visual parameters with my other hand using the 3D joystick, switches, push buttons and knobs.

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Ken and I also worked out an elaborate initialis- ation routine for an array of sixty-four definable, storable bitmapped textures which could be used as ‘brushes’ or letters of the alphabet, or whatever, and
Ken and I also worked out an elaborate initialis- ation routine for an array of sixty-four definable, storable bitmapped textures which could be used as ‘brushes’ or letters of the alphabet, or whatever, and
Figure 2
Figure 2
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