Around 1980 Copper began working with the Zgrass UV-1 computer. She connected this new configuration to a plotter and often refers to the prints from this period as an extension of her digital animation practice. She was interested in making the pen plotter work like a video scan and so developed her own paint/draw/animation system, which interrogated the raster image, drawing from left to right like a video scan (unlike the X,Y Cartesian coordinates typically utilized for plotter prints).

These works range from brightly-colored, grid-like patterned compositions to multi-layered self-portraits that incorporate black & white video of the artist integrated into nature and her surroundings. The variety of colors and textures are achieved through repeated printings and the mixing of the archival ink colors by hand.

Copper Frances Giloth’s plotter prints explore the textures of informational media technologies, while their rhythmic forms emerge from the inputs and commands of the programming language.

From Giloth's "Wisconsin Series" (1983-1984).