[2] In 1960, working in a team supervised by Verne Hudson, he helped coin the term Computer graphics.

[5] Together with a computer manager, he worked on the development of a program but before the project was completed, Fetter accepted employment as art director of Boeing in Wichita in 1959.

[4] "In 1960, 'we' at Boeing coined the term computer graphics", wrote Fetter in a 1966 issue of Print magazine.

In 1959, Fetter was recruited by Boeing as art director of the CAD department to explore creative new ideas for the production of 3D drawings.

Supported by Walter Bernhardt, assistant professor of Applied Mechanics at Wichita State University, Kansas, his ideas were successfully implemented as mathematical formulae.

[11] Mr. Fetter, who is a graphic artist and not a mathematician, achieved the results he desired by describing the process of perspective drawing on a chalk board, and letting others write a computer program for the mathematically equivalent operations.In 1963, the research department relocated from Wichita to Seattle, where Fetter became the manager of Boeing's newly founded Computer Graphics Group.

In his Print magazine article he described the development of computer graphics and the human figure at Boeing.

[12] The first human figure, which he managed with a computer for a film, however, was the Landing Signal Officer on a CV-A 59 aircraft carrier.

Fetter published this in November 1964 in his book Computer Graphics in Communication in the section "Aircraft Carrier Landing Depiction with images".

[13][14] In 1965 Fetter was invited to a meeting at Bell Labs in Murray Hill, New Jersey, where he was the only one with an education in graphic and art.

Participants at the meeting were Ken Knowlton and Ed Zajac of Bell Laboratories and others who conducted research on the development of computer films.

[4] Through an agreement with the Boeing Company and Computer Graphics, Inc., in 1970 Fetter was permitted to use the source code for the First Man for a 30-second TV spot.

Gustav Metzger was at the Tendencies 4 symposium in Zagreb and wrote 1969 a critic in a journal by Studio International: At a time when there is a widespread concern about computers, the advertising and presentation of the I.C.A.