click on the white button to go directly to the subject
This stack contains text information relevant to the pictures on the disc:S
to intro
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about the art work
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natural envir
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technique
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the artist
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about the file formats
buttonUp
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buttonUp
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^ showNameProp
false
marked
false
The ToolBook application, which we use for easy access to texts and pictures, invites a non-linear, almost random approach to the give and take of information. Because of this, we expect users to be somewhat casual in browsing through the picture previews and information, reading some parts, and skipping others.
In an attempt to be fairly complete as we discuss our various experiences related to computer graphics, several subjects may be mentioned more than once, albeit in somewhat different contexts.
If you see something you feel you already know or have read elsewhere, simply skip it!
please note that there may be some duplication of information between stacks...
please note that there may be some duplication of information between stacks...
buttonUp
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This tutorial contains various types of information related to the use of the pictures.
Use this introduction stack for reading the introductory texts
Click on the Image preview button to see an 8 bit indexed format version of the pictures on this disc; click on the introduction button to return here.
Click the file formats button for reaching the stack with explanations regarding the best application and format combinations
Click graphics terms for an explanation of some of the terminology used throughout the texts
Use the technical info button to find out about hardware/software combinations used to create the pictures, and for some color theory.
Home connects to other options in HyperCard
inroducing these HyperCard stacks...
in somewhat different contexts.
If you see something you feel you already know or have read elsewhere, simply skip it!
please note that there may be some duplication of information between stacks...
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buttonUp
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marked
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A theme that runs through the imaginary planet scenes, is that of spherical bodies floating in various types of environments that could be located anywhere.
Some spheres travel in atmospheres with clouds, others
visit surfaces that appear to be rocky, sandy, cratered, etc., reflecting our current expectations of other planets.
Knowing so little of what is out there in our galaxy, the artist uses her imagination and makes a best guess.
The spheres themselves are symbolic representations of unidentified bodies of undetermined volume or substance. Some may be simple gases, others solid rock or minerals.
What they have in common is a shape formed naturally by their common gravitational principle, whatever the density. These fantasy spheres could be anything the viewer wants them to be: from greatly magnified neutrinos, to asteroids or other types of planetesimals.
illustrating space fantasies
buttonUp
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marked
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This illustration resource
is intended for all who lecture, write or publish materials about various space issues, whether science or fantasy, and who need high quality digital graphics to accompany the texts- either for desktop presentation, or for use in print media.
Both pictures and texts are offered in the hopes that it will inspire the creative artist in most sentient users and lead to an ever broader expansion of ideas and insights into the marvels of the universe!
sample planet pix
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marked
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A/PIX is the name of the artist's studio and computer art center.
This is where the workshops in computer graphics are offered, tutoring is done, and consultations are provided by appointment.
A/PIX VISions provides the videographic illustration services.
Contact A/PIX by mail at
Post Office Box 9063
Berkeley CA 94709 or telephone (510) 848-3776
Wayzata Technology Inc. is the publisher of this CD ROM volume. Contact Wayzata Technology by mail at
P.O. Box 807, Grand Rapids, Minnesota 55744
(800) 735-7321 or (218) 326-0597
All other trademarks are property of their respective owners.
trademarks...
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it seemed appropriate to include a number of the JPL/NASA pictures, thereby making these views (enhanced by us from the original field date) also more easily available.
your turn
marked
false
These digital pictures represent a first step into a new era
for art, and for the art experience. Combining the new technologies with the creative process can now produce something quite unique: pictures that derive from the individual interests of the artist and yet can result in illustration material of wider appeal; something that can be used widely, either as finished work or as templates for further enhancement.
Due to the fluid nature of the image files, and the flexibility of the computer graphics processes, it is possible, and even desirable, for the end user to take these pictures as a starting point for an entirely new creation. Everything in these pictures can be changed: the direction or shape of the lines, the textures, the colors, the space, or even the form. Make an effective change, and there is a whole new picture... yours!
Your turn..
hotography for initial image capture;
video digitizing, followed by retouching and enhancing in a digital photography appliaction;
painting the planetoids and other imagery either from scratch or as further modification from video imagery.
marked
false
Artists affect their immediate environment by shaping it to their personal taste as much as they are able. They are also, in turn, affected by their physical and intellectual environment in time and in space, by what they read, see, and experience personally.
Living in northern California, and in the city of Berkeley, provides a multitude of cultural and environmental impressions and the local weather frequently allows for living and working out under the open sky.
Between the ubiquitous fogs and rare rain clouds the sky is clearly visible and nights are often warm enough for spending considerable time looking through a telescope in search for favorite planets, constellations and galaxies.
environmental give and takenic
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pping
-- HyperTalk:
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the techniques
The detail work in creating and modifying the pictures, writing the texts, designing and producing the covers, etc. involved the use of almost every aspect of computer graphics. However, the actual image production can be broken down to three simple categories:
videography or photography for initial image capture;
video digitizing, followed by retouching and enhancing in a digital photography appliaction;
painting the planetoids and other imagery either from scratch or as further modification from video imagery.
marked
false
The computer artwork on this CD ROM disc has been created by a single artist. It reflects therefore an expression of one person's response to the new horizons opened up by the modern technologies and media.
All of the artists's views, and the fantasy art are original, and (Macintosh) computer generated.
This collection reflects the levels of painting and photo/video graphics media as they have developed over the years. It might be said that they are 'state of the art' for the personal computers we used.
The "artist's views" collection is included to show what might happen when an artist's personal stylistic interpretations dominate the concept and/or image!
etations dominate the concept and/or image!
eative process...
About the artwork and the creative process...
marked
false
Artists affect their immediate environment by shaping it to their personal taste as much as they are able. They are also, in turn, affected by their physical and intellectual environment in time and in space, by what they read, see, and experience personally.
Living in northern California, and in the city of Berkeley, provides a multitude of cultural and environmental impressions and the local weather frequently allows for living and working out under the open sky.
Between the ubiquitous fogs and rare rain clouds the sky is clearly visible and nights are often warm enough for spending considerable time looking through a telescope in search for favorite planets, constellations and galaxies.
environmental give and take
marked
false
Photographing and painting subjects of our universal environment is just one way of responding to these cosmic phenomena and their beauty. It involves focusing on each single event in turn, grappling with possible implications of each individual entity, and then finding the most effective way to depict these bits of grandeur in a composition that best expresses the appreciation and the Gestalt of the experience.
Much of the detailed information about space, and time, is of course, second hand, but the artist's visualization is original, and combined with personal imagination and interpretation, is a response to the magic of our universe.
nature as the source of aesthetic experienceeeee
marked
false
This artist's work results from a strong personal sense
of aesthetics and the interaction of that sense with her life and environment.
This creative interaction is now focused on the cosmos and on the new questions on the nature of the universe.
Reflections of these experiences and ideas can be found among the images included on this disc.
Even though the clip-art pictures in this volume are not to be considered as this artist's fine art, the images in t
marked
false
Since then, Ms. Haveman has been a professor of photo-graphy at the California College of Arts and Crafts, and an exchange instructor at Portland State University in Oregon;
at Haifa University in Israel, and at the St. Joost Art Academy in the Netherlands.
Over the years she has developed professional skills in several art media: painting, photography, printmaking and computer graphics. She has been teaching computer art since 1985. Ms Haveman has exhibited her photographs, lithographs and screen prints as well as computer art throughout this country and abroad.
She currently teaches Macintosh illustration techniques at San Francisco City College.
about the artist... 22
marked
false
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y spheres could be anything the viewer wants them to be: from greatly magnified neutrinos, to asteroids or other types of planetesimals.
illustrating space fantasies
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urces to tap into. Meanwhile, we simply continue doing what we have always done with computers: enjoy and use whatever works easily, hack away at the latest anomalies, share the experiences and information with others, and keep pushing the limits of the medium. Amazingly, the new complex color systems work very well right out of the box: just keep the right pictures and fomats together!
marked
false
As the color image scene grows, we see a variety of file options, even just within the TIFF (Tag Image File Format) mode: 4 bit, 8 bit, 24 bit, RGB, CMYK, compressed or uncompressed. All these will show fine on the standard VGA color monitors. Older CGA and EGA monitors will show the same pictures in the colors and resolutions that fall within their originally designed limits.
To see the full 24 bit photographic quality on the screen requires the installation of a 24 bit color (VGA) video card. If the current color card (graphics board that drives the monitor) used does not provide the full range of the colors in the image, the system will either 'dither' the tonalities, which adds a texture that simulates the wider color range or show a limited range of colors.
marked
false
Josepha Haveman was born in The Netherlands in 1931. After completing two years of art school in Amsterdam, she emigrated to California where in 1956 she obtained a B.A in Art from San Francisco State University. She spent four years doing graduate work in the Anthropology Department of the University of California in Berkeley, while simultaneously working at the University's Museum of Anthropology as museum artist and photographer.
While studying media, the relationship of art to culture throughout the ages, she realized that artists in every society were most challenged when working in the highest technology available at their time and place.
After working and painting in Europe for several years, she returned to San Francisco State for an M.A. in Art, with a concentration in the medium of photography.
marked
false
The purpose of this introduction is to share some of the experience we've gained during ten years of personal computing. During that time we've used successive models of computer systems for making art and for creating illustrations and other graphics. In the early days, none of the digital tools we used were designed for the pursuit of personal artistic expression, and we had to adapt, invent, and improvise. With the advent of new technologies, vastly improved graphics capabilities on the Intel 80286 to 80486 chip based systems and Motorola 68000 chip graphics based computers such as the Amiga, Atari ST, and Macintosh, this trickle towards extended graphics capabilities has lately become a veritable flood!
technical experience: a lengthy and ongoing process...
22
marked
false
This product is available for international distribution. Translations of the texts may be produced as required. Contact A/PIX VISions or Wayzata Technology Inc. for further information about texts in other languages.
1992
A/PIX Videographic Illustration Services
Post Office Box 9063, Berkeley California 94709, USA
Wayzata Technolgy Inc.
P.O. Box 807, Grand Rapids, Minnesota 55744
(800) 735-7321 or (218) 326-0597
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bit color files offer the richest color and highest quality image. On many PCs a 16 bit color file is a very good compromise solution.
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marked
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Photographing and painting subjects of our universal environment is just one way of responding to these cosmic phenomena and their beauty. It involves focusing on each single event in turn, grappling with possible implications of each individual entity, and then finding the most effective way to depict these bits of grandeur in a composition that best expresses the appreciation and the Gestalt of the experience.
Much of the detailed information about space, and time, is of course, second hand, but the artist's visualization is original, and combined with personal imagination and interpretation, is a response to the magic of our universe.
nature as the source of aesthetic experienceee
dontSearch
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-- HyperTalk: picture "Gaia:
2 home planet", resource,
, hc_Visible, deepest
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saturn
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-- HyperTalk: picture "Callisto
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marked
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Although the production and the development of this project has been primarily one person's effort, it would have been difficult to accomplish so much without the help and support of other entities in the galaxy.
I especially want to thank the savvy sentients who have helped develop significant parts of this project:
Elizabeth Carden for doing the publications stack, Carley Fung for overseeing the printing of the booklet, Erik Paul Gibson for entering the data in the organizations database, Jim Woolum for unraveling the early versions of QuickTime(TM) and for producing sixteen wonderful movies of the 'astronomer's views' of our universe, and especially Jim Wick for his painstaking conversion of the original Macintosh material into this PC readable version!
Acknowledgements...
marked
false
About the pictures in this volume
Page sized full color imagery of space subjects, with emphasis on planets and other events in the universe.
* JPL/NASA views, (the originals have been enhanced)
* Montage space scenics based on the JPL/NASA images
* Our own fantasy views, painted in full color.
* Earth views of the sky by day and by night, and of the planet surface from 10,000 meters.
both fact and fantasy...
marked
false
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:PHYSSIZE
Call and Ganymede
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marked
false
The texts on this disc, whether in separate files or arranged in HyperCard format, are provided for the sole purpose to assist the user in accessing and enjoying the pictorial material, and to provide some further insights on their creation and production. Even though the pictures in this volume are clip-art, and may be used as the registered purchaser of this disc sees fit, these texts may not be copied, photocopied, or otherwise reproduced, translated or converted to any electronic or machine readable form,
in whole or in part, without the prior written approval of Wayzata Technology or of A/PIX.
Permission is hereby granted for quoting sections of the text, provided proper reference is made to the source of the quotation.
1991,1992 Josepha Haveman
A/PIX VISions (Videographic Illustration Service)
all rights reserved
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marked
false
The price we pay for being at the cutting edge, is having to find out on the fly how the newest options should function. Hopefully, after more people have worked with sophisticated color programs on personal computers, we will have a larger body of experience with this new level of the PC technology, and then we'll have more expert resources to tap into. Meanwhile, we simply continue doing what we have always done with computers: enjoy and use whatever works easily, hack away at the latest anomalies, share the experiences and information with others, and keep pushing the limits of the medium. Amazingly, the new complex color systems work very well right out of the box: just keep the right pictures and formats together!
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marked
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About the pictures in this volume
Page sized full color imagery of space subjects, with emphasis on planets and other events in the universe.
- JPL/NASA views, (the originals have been enhanced)
- Montage space scenics based on the JPL/NASA images
- Our own fantasy views, painted in full color.
- Earth views of the sky by day and by night, and of the
planet surface from 10,000 meters.
both fact and fantasy... and
marked
false
PM Bitmap (BMP)
BMP is a native format to Windows and is supported by PC PaintBrush, and related software. The images in this format are an 8 bit indexed color version and are left uncompressed for greater compatibility. The TIFF version of these pictures are provided in full 24 bit color. The BMP graphics are supplied in a more compact form than True Color (24 bit) to facilitate quick image previewing.
The TIFF file versions should be used whenever possible to assure the best reproduction quality. Print quality may also differ depending on the level of control features offered in the production software used. The TIFF file versions should be used whenever possible to assure the best reproduction quality. Print quality may also differ depending on the level of control features offered in the production software used.
the images shown in the picture previews are...............................................
red as this artist's fine art, the images in the "artist's views" folder show the direction that these would take, and in any case, this illustration work benefits from the artist's visual discipline and her extensive picture making experience.
reflection of the artists concerns...
marked
false
It also needs to be pointed out that little of this disc could have happened without the explorations of JPL/NASA's scientists from whence we draw the inspiration, the information and many of the pictures! Therefore we do also want to thank the NASA crews and those at the National Space Sciences Data Center's Central Data Services Facility* for their courteous service in making the complete digital Voyager material available to us.
Even though this project originated as a clip-art disc of space fantasy paintings, it seemed appropriate to include a number of the JPL/NASA pictures, thereby making these views (enhanced by us from the original field date) also more easily available.
*Please be sure to include credits for the appropriate sources!
more acknowledgements...
more acknowledgements...
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marked
false
Although the production and the development of this project has been primarily one person's effort, it would have been difficult to accomplish so much without the help and support of other entities in the galaxy.
I especially want to thank the savvy sentients who have helped develop significant parts of this project:
Elizabeth Carden for doing the publications stack, Carley Fung for overseeing the printing of the booklet, Erik Paul Gibson for entering the data in the organizations database, Jim Woolum for unraveling the early versions of QuickTime(TM) and for producing sixteen wonderful movies of the 'astronomer's views' of our universe, and especially Jim Wick for his painstaking conversion of the original Macintosh material into this PC readable version!
Acknowledgements...
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Introduction: SpaceTime and Art
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Thesis of the SpaceTime and Art project:
Everything is a matter of point of view, and points of view vary in time, place, and certainly in art.
The more we learn about the space we live in, surrounded as we are by 100 billion neighbor stars in our own galaxy and another 100 billion galaxies or more beyond.., the more we can grasp the reality of our limited perspective.
Our sense of distance, dimensions, size, space, time or reality are all relative; it depends on when, where and who you are. Yet, the universe seems to be the same from everywhere!
We are in and of the universe, but it is probable that we on Earth represent only a come lately society of provincials from the outer regions, and at this early level in our evolution, our point of view may still be too narrow to be able to fully understand who and where we are.
As our tools improve our capacity for imagination becomes augmented with expanded resources, aided by our ability to explore and to learn new ways to perceive and view the expanding perspectives.
The more we probe, study, reach out, and try to learn all we can, the better we'll be able to understand our own existence and our true relationship to our many probable neighbors in the universe.
As a species, we are an intelligent explorer lifeform capable of creativity and imagination and love. But we are also an agressive, rapidly expanding sentient creature that is self-centered, power hungry, expansionist and, all too frequently, a destructive force as well. It is this combination of traits that drives us in most of what we do, and all these traits must be reckoned with in our planning of our own future as actively roaming denizens of the cosmos.
One of the special features of our intelligence is an ability to fathom the abstract and to imagine the unknown. We need to improve and exercise this uniquely sentient capability if we are ever to understand who, what and where (and when) we are.
We have artificial intelligence and robotic companions to assist us in our scientific pursuits, and human researchers to lead us from idea to insight, and from exploration to discovery.
But we shouldn't leave all the imaginative work to the scientists. Now is the time for all intelligent Earthlings to join the quest and ply their creative trades! This especially includes the artists, since they are practiced in depicting the intuited and the imagined along with the observed, and these imaginative depictions might well be what are needed to inspire new insights or intuitions in others, perhaps planting a new seed for growth and understanding somewhere, at some other time.
As artists we propose that our colleagues join us in this great pursuit, and that they too focus their imagination on the beauty and wonders of the universe and help visualize its many fascinating
mysteries.
See the Points of View folder in Texts and References for some suggestions and ideas that might challenge the artist in you! (path: \pc\PNTSofVW\refTEXTS).
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Josepha Haveman was born in The Netherlands in 1931. After completing two years of art school in Amsterdam, she emigrated to California where in 1956 she obtained a B.A in Art from San Francisco State University. She spent four years doing graduate work in the Anthropology Department of the University of California in Berkeley, while simultaneously working at the University's Museum of Anthropology as museum artist and photographer.
While studying media, the relationship of art to culture throughout the ages, she realized that artists in every society were most challenged when working in the highest technology available at their time and place.
After working and painting in Europe for several years, she returned to San Francisco State for an M.A. in Art, with a concentration in the medium of photography.
about the artist...
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Most graphics applications offer several options for saving to a choice of file formats. Saving a version in 8 bit mode results in a much smaller file, but the larger 24 bit color files offer the richest color and highest quality image.
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for use in virtually any application...
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The TIFF file versions should be used whenever possible to assure the best reproduction quality. Print quality may also differ depending on the level of control features offered in the production software used.
The TIFF file versions should be used whenever possible to assure the best reproduction quality. Print quality may also differ depending on the level of control features offered in the production software used.
the images shown in the Image previews are...
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This artist's work results from a strong personal sense
of aesthetics and the interaction of that sense with her life and environment.
This creative interaction is now focused on the cosmos and on the new questions on the nature of the universe.
Reflections of these experiences and ideas can be found among the images included on this disc.
Even though the clip-art pictures in this volume are not to be considered as this artist's fine art, the images in the "artist's views" folder show the direction that these would take, and in any case, this illustration work benefits from the artist's visual discipline and her extensive picture making experience.