Check out these Computer Graphics images:
Frühe Computergrafik-Arbeiten · My early computer graphics work · 1988–1990
Image by schoschie
In 1:1 – www.flickr.com/photos/schoschie/3297884036/sizes/o/
English below
Frühe Computergrafik-Arbeiten von mir, 1988–1990. Dies ist eine Collage von Bildern, die ich auf meinem Atari 800 XL mit dem Joystick (!) gezeichnet habe. Jedes Bild hat 320 x 192 Pixel und ist im Bitmapmodus (nur 2 Farben: schwarz und weiß) – das war der hochauflösendste Grafikmodus, den der Atari hatte. Die Bilder sind je 7680 Bytes groß; das waren je 60 Sektoren auf einer Atari-Diskette, und das Laden eines Bildes hat einige Zeit gedauert, wenn man keinen sogenannten Floppy-Speeder hatte (ich hatte eine 1050 Turbo).
Oberste Reihe: Titelbild für mein Spiel ARROW (3 Arbeitsstände, das erste ist das fertige Bild). Februar 1989.
2. Reihe von oben: Titelbild für mein Spiel QUIZ (das nie fertig wurde). 3 Versionen. November 1990.
3. Reihe von oben: Titelbild für mein Spiel LABYRINTH (das bis auf das Titelbild nie entstanden ist); »CVFF Styrocut 1« – ein von mir entworfener Styroporschneider (1988); »Der Aufbau eines Swimmingpool-Filters« (9. Juli 1989)
Letzte Reihe: LABELUKI 100 (von meinem Bruder, 26. Januar 1989, da war er 7), YEAH (doof)
Mir fällt gerade nicht mehr ein, wie das Programm hieß, in dem ich sie gezeichnet habe, aber ich glaube, es war eins von Peter Finzel.
Ich hatte damals zwei imaginäre Firmen, die meine Software produziert haben. Beetlesoft entstand so um 1987 (ich war 12); Ypsilone 1990 (mit 15). Als ich die Titelbilder für QUIZ gemacht habe (1990), waren Schlagschatten der letzte Schrei (zumindest für mich).
Als die ARROW-Titelbilder, Styrocut, LABELUKI und YEAH entstanden sind, haben wir noch in Emden gewohnt. Kurz darauf sind wir für einen dreijährigen Auslandsaufenthalt nach Port Elizabeth, Südafrika gezogen – da sind die anderen Bilder entstanden. Wir hatten dort einen Pool, was das Bild vom Poolfilter erklärt. Ich hatte nämlich damals den offiziellen Job des Pool-Managers bei uns (ich mußte den Pool sauberhalten, den pH-Wert einstellen, darauf achten, dass das Wasser schön blau ist, etc.) – und habe mich daher auch ausführlich mit der Filteranlage beschäftigt.
…………………………………..
This is some early computer graphics work of mine (1988–1990). It’s a collage of images I painted on my Atari 800 XL with a joystick (!). Each image is 320 by 192 pixels and in bitmap mode (2 colors: black and white) – this was the highest resolution graphics mode on the Atari. The images are 7680 bytes in size each; equalling 60 sectors on an Atari disk, and it took a while to load an image unless you had a so-called floppy speeder (I had a 1050 Turbo).
Top row: Title screen for my game ARROW (3 stages of progression, the first one is the finished result). February 1989.
2nd row: Title screen for my game QUIZ (which was never finished). 3 versions. November 1990.
3rd row: Title screen for my game LABYRINTH (which never came into being except for the title screen); »CVFF Styrocut 1« – a styrofoam cutter of my own design (1988); »Der Aufbau eines Swimmingpool-Filters« – »The construction of a swimming pool filter« (9 July 1989)
Bottom row: LABELUKI 100 (by my brother, 26 January 1989, he was 7), YEAH (stupid)
I can’t recall the name of the program I used to draw these, but I think it was one of Peter Finzel‘s.
I had two imaginary companies back in the day, producing my software. Beetlesoft was »founded« around 1987 (when I was 12); Ypsilone 1990 (at 15). When I made the title screens for QUIZ in 1990, drop shadows were the latest craze, at least for me.
When I made the ARROW title screens, Styrocut, LABELUKI and YEAH, we lived in Emden, Germany (at the North Sea coast). Shortly thereafter, we moved to Port Elizabeth, South Africa for a three-year stay abroad, which is where the other images were made. We had a pool there, which explains the pool filter drawing. I had the official duty of keeping the pool clean (and checking the pH, making sure the water is nice and blue, etc.), so I spent considerable time getting to know the ins and outs of the filter unit.
“COMPUTER-GRAPHICS”
Image by Haversack
Akron 396 Karl Gerstner – Programme as computer graphics
Image by watz
"Designing Programmes", classic book on form as programme by the Swiss designer Karl Gerstner.
Page 21: Programme as computer graphics
The illustrations below show pictures from the series 201. They came into being in 1966 and are the work of Frieder Nake, who is per se a programmer at the computing centre of the Stuttgart Institute of Technonlogy.
He writes: Visual objects generated by computers and by automatic drawing machines are solutions of aesthetic programmes which are written by human beings and implemented by machines.
1. In a (more or less subjective) selection process, a person decides on a certain class of visual objects. In concrete terms this means: the elements are fixed which are to appear in the picture or pictures. In the examples below: horizontal or vertical lines of equal length.
2. He or others then formalize the problem radically so that it is suitable for the programming of an automatic production process in which man is involved simply in an ancillary and not a decisive capacity. This means that all the concepts arising (colour, form, completion, selection, proximity, relation, tension, frequency, etc…)
must be translated into mathematical language. When the problem has been formulated in mathematical terms, it is translated into a text which the computer can understand. This translation is the "Programming of a computer". For this purpose a "programming language" is used e.g. ALGOL 60. In this language we find sentences like:
«for» i:=1 «step» 1 «until» n «do»
«begin» x:=choose(mx,x1,x2); y:=choose(my, y1, y2)
z: =choose(mz, z1, z2); zeichne (x, y, z).
3. The programme is delivered and passed onto modern computers which, working in conjunction with drawing machines, ensure that the process is carried out automatically and deliver the finished visual object.
The use of chance generators plays an important part in this process since they simulate imagination, variations and series formation. A programme can be repeated virtually as often as desired without the same result ever
occurring twice. F. N.
Merckins | Tolkienâ??s | Luthor | Lookout | Winfrey | Kasper | Fuselage | 1800getthin | Ownership | Double Glazing | vertaa-sähkön-hintaa
