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管樂雅集 - 薩克斯風妹 / 漂亮的冬冬是電腦美工高手 - 她的爵士和藝術畫出樂團的圖示
Wind instrument music elegant gathering - The sister of saxophone / The attractive DonDon is the computer art designing master - Her jazz and art draw the orchestra the graphical representation
Reunión elegante de la música del instrumento de viento-La hermana del saxofón / El DonDon atractivo es el arte de computadora que diseña el amo - Su jazz y arte dibujan a la orquesta la representación gráfica
管楽は風雅に集います - 薩克斯の風妹 / きれいな冬はコンピュータの美術スタッフ(仕事)の達人です - 彼女のジャズおよび芸術は楽団の求めることをかきだして示します
Elegante Versammlung der Windinstrument-Musik - Die Schwester des Saxophons / Das attraktive DonDon ist die Computerkunst, die Meister entwirft - Ihr Jazz und Kunst zeichnen das Orchester die grafische Darstellung
Tainan Taiwan / Tainan Taiwán / 台灣台南
如果將來有一個像冬冬的女兒一定很驕傲
Certainly very honor if the future have a daughter like Don Don
Ciertamente mismo honor si el futuro tiene una hija como Don Don
もし将来ひとつあって冬の娘のようならばきっととても誇らしいです
Zweifellos sehr Ehre, wenn die Zukunft eine Tochter wie Don Don hat
收到冬冬設計,黑管妹製作的樂團幸運娃娃,我很開心也很珍惜,我要自己欣賞哈~~
I Receives the Don Don design, The sister with a clarinet manufactures the orchestra lucky baby, I very happy also very much treasures, I want to appreciate for myself. Ha ~
I recibe el diseño de Don Don, la hermana con un clarinet fabrica al bebé afortunado de la orquesta, tesoros muy felices de I también mucho, yo quieren apreciar para me. Ha de ~
冬の設計を受け取って、クラリネットの妹の製作の楽団の幸運な子供、私はとても楽しくもとても大切にして、私は自分の称賛を要して~~をどなりつけます
I empfängt den Entwurf Don-Don, die Schwester mit einem Clarinet herstellt das glückliche Baby des Orchesters, i-sehr glückliche auch sehr viel Schätze, ich möchten für mich schätzen. Ha ~
{鄧麗君/安平追想曲/Anping melody of the memorise}
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其實我是黑管妹(愛睏仙=無敵鳳眼妹)的粉絲
I am a fans of The sister with a clarinet
Soy los ventiladores de la hermana con un clarinet
私はクラリネットを持つ姉妹のファンである
Ich bin Ventilatoren der Schwester mit einem Clarinet
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{The Love story of Tayouan - Anping melody of the memorise 2009}
{La historia de amor de Tayouan - Melodía de Anping de la memorización 2009}
{Die Liebesgeschichte von Tayouan - Anping-Melodie merken 2009}
原圖JPG直出無後製
Original picture JPG is straight has no children the system
El JPG original del cuadro es recto no tiene ninguÌn niño el sistema
原図JPGはずっと跡継ぎがいなくてつくることを出します
Ursprünglicher Abbildung JPG ist hat keine Kinder das System gerade
本圖無合成無折射
This chart does not have the refraction without the synthesis
Esta carta no tiene la refracción sin la síntesis
当合成がないことを求めて屈折がありません
Dieses Diagramm hat die Brechung nicht ohne die Synthese
可用放大鏡開1:1原圖
The available magnifying glass opens 1:1 original picture
La lupa disponible abre el cuadro de la original del 1:1
利用できる拡大鏡は1:1の原物映像を開ける
Die vorhandene Lupe öffnet 1:1vorlagenabbildung
New York Web Design
New York Website Design
Dallas Web Design
Dallas Website Design - you can use this image but if you do please give credit to new york web design.
This bunch of freebies represents 8 years doing FMVs and animation in the UK videogames industry, at Rage Newcastle and Acclaim Cheltenham (both companies went into administration). Everything was done with 3DS Max, Character Studio and Adobe Premiere. In chronological order:
Expendable: Sci-fi shooter on PC. The game won High IQ Best of Class Spring 1999 award (whatever that means) from video card manufacturer NVidia, hence the jacket, which has the zip the opposite way round, curiously enough. The game showed off their hardware with its complex graphical effects. When I joined there were only 7 other people in the office, plus a dog, and I did all of the character animation and FMVs for this game. I'd just got Character Studio, 3 weeks before I started the intro and didn't want to push it trying to do full body morphing for the facial animation on top of the CS deformations so there's a separate head on the main character. I tried to hide the seam as best I could. The original human model was from Viewpoint and it's often used in TV reconstructions and adverts (quite sad that I can recognise it...) This game was intended to have hordes of low poly baddies onscreen at once but then Unreal came out with its high res models (albeit about 1 every 5 minutes) so all the characters, including the much lamented Slugbot, were scrapped in favour of ones with a higher poly count. Which meant all the animation was scrapped too. I had major censorship from US publishers of the final game and demos because of the intro sequence. Bearing in mind this is a science-FICTION GAME starring Expendable clones they objected to: babies in vats, adult birth from an egg pod, metal umbilical cord, adult male nudity - buttocks being the naughtiest bits visible (bet if it was a naked woman they wouldn't have complained). In the worst case half the intro had to be cut. Of course the relentless gory xenocide perpetrated by the player was perfectly acceptable. Note the huge box which has very little inside, rather like a PC tower. Games for some systems had enormous packaging to help them stand out on shop shelves. The font for this game is called Hirosh and the logo which looks like a little person is the X of that font. Hilariously, a hapless journalist on PC Zone magazine said it "could be the greatest game ever made" in a preview, probably while dazzled by the masses of explosions. They changed their minds when the game was released, but too late! The quotes were plastered all over the box, HA HA!
Millennium Soldier: PS1 version of Expendable with nicer controls. I always preferred the PS versions because the FMVs looked much more vibrant on CRT TVs. They suffer badly on today's LCD TVs too - you can really see the video compression on older games. This was also an early Dreamcast release and was reviewed on the TV show Bits. They showed about half my intro, yay, then slagged off the game, haa.
Wild Wild Racing: Off road driving game. A fun project conducted by email and courier as it was developed at Rage Liverpool and some of us in Newc helped out. The red box is the coveted Japanese release. I preferred the original logo on this one before it was stretched for the PAL release but that one's Crazy Taxi style yellow packaging is nicer. I did the intro and car unlock FMVs. There's a subtle Expendable logo on the steering wheel in one shot (approved by the producer).
Rolling: Licensed skate game begun at Rage Liverpool and completed by Indy Games after the demise of Rage. I only did a few character select and tumble anims for this and I had to buy the game myself!
Rocky: Licensed boxing game covering the first 5 Rocky films. We were in a bigger office with a listed door(!) and weird decor by this time. The game was well received both as a boxing game and as the use of a license, despite Adriaaaan not being in it much, but you can be Mr T. This was a bit of a pain for the licensing as the big stars' likenesses had to be licensed separately, and the reason the song Eye Of The Tiger is not in it is because it was deemed too expensive to buy on its own. Our musician wrote a most excellent pastiche to replace it. Also because the films are owned by MGM we were going to have a fight set in the MGM Grand Hotel but would have had to pay for its image just for a few seconds of FMV! Two of us worked on the FMVs full time and one person joined us for a couple of months. We had to distill each film into a 2 minute story sequence that fit the game world. About half the FMV animation was done by hand and half was motion capture. British boxer Johnny Nelson performed the motion capture. We didn't know that the US flag has to have the stars on the left when hung vertically, which caused a certain amount of re-rendering. But one slipped through by accident hung the wrong way in the shadows! I also edited the preview gameplay videos synched to music, which was a lot of fun.
XGRA: Sci-fi racing game sequel. The best things about working at Acclaim were being in gorgeous Cheltenham, cake day - free cakes every Friday, and doing a week of motion capture. This game was a last minute rush doing some of the HUD videos and victory FMVs. After I'd completed clean up and facial animation on about 50 lines of dialogue they cut half to *save us time*. Argh. And animating a 600 frame sequence in 3 days is not fun.
Alias: Licensed action/stealth game based on the TV show. I did some of the FMVs. Due to a lack of inter-departmental communication one of the mission briefings is an unfinished version. Spent a week doing lip sync clean up, intersection correction, hand and facial animation on that, all for nought. The company bought this license on spec (and cheaply) before the TV show became a mega hit in the US. Sadly the game was released some time after the final season aired in the US and the show wasn't really so popular over here. The story was specially written by the show's creators but that meant another last minute rush for the FMVs. Licensed games can mean a slow turnaround of approvals and material. It was refreshing to use motion capture on this one. Had to match the FMV lighting to the in game lighting from scratch, also the parachute sequence used different animation techniques in every shot. Ah, if only more games had a frying pan as a weapon.
I also worked on various unfinished projects (or barely started):
FMVs for a submarine game with Paul Darrow of Blake's 7 in live action cutscenes. It was bought by EA then canned with only a couple of months to completion. Other sub games came out soon after. How strange.
Concept work on an NYPD driving game set aside because it was all hands to the pumps for Rocky. We would have been developing it during 9/11.
Looking at a Rocky sequel, subsequently developed by Venom, born from the ashes of Rage Newcastle.
Concept work on a promising survival horror set on an undersea base, set aside for other projects.
Tiny bit of concept work on Emergency Mayhem, developed and released by another company after Acclaim went down. Usually when a company goes down other companies will buy any good IPs to develop themselves.
Started on the FMVs for Heist which was bought and freshly developed by Codemasters but recently canned after about 6 years.
Please No Graphical Group Invites
This is another shot taken on our drive along the Thousand Island Parkway. This bridge is the route to the USA via Ivy Lea. This was taken from a kind of precarious perch at the edge of edge of a cliff overlooking the St Lawrence River.
Pop Art style Graphical Portrait, Vicious, created by DGFX from scratch. Drawn using portrait images as reference
Multi colour graphic. It takes two photo editing programs and about 2 hours to do, i multi layer and multi expose the image and redraw it adding colour, swapping out the canvas a few times, just working with blocks of colour.
Graphical overview for the course structure, learning tasks, and assessment for E-Learning & Clinical Education (ClinEd.711). This is an optional course in the Postgraduate Clinical Education Programme offered at the University of Auckland, New Zealand.
The day before last, I uploaded a picture of the Blue Screen of Death, which is a screen that is all too familiar to users of the Microsoft Windows Operating System. I mentioned in my narrative that the 25th anniversary of Windows will be observed later this year. Which got me to thinking about Windows 1.0.
I made a visit to my basement archives looking for examples of some of the early advertising Microsoft did for Windows. What I found was a six-page, glossy advertisement for Windows that appeared in the January, 1986 issue of Byte Magazine which, at that time, was the pre-eminent microcomputer publication.
Microsoft was a heavy advertiser in Byte, and this is the first Windows advertisement to appear in that magazine. I don't know whether this is the very first Microsoft Windows advertisement, but it is certainly one of the first. I've left the images full size so all six pages can be clear read when enlarged to full size.
The release of Microsoft Windows 1.0 did not receive the kind of attention associated with later Window's releases. I haven't found any flashy cover stories in the PC rags that immediately followed the release of Windows 1.0 in November, 1985. With the exception of Mac users, not everyone was sold yet on the benefits of a graphical user interface. And, on the Windows side of things, there weren't any killer apps. Actually, there were barely any Window's application other than those included by Microsoft with the installation disks (it came on floppy's).
The other thing to keep in mind is that the early versions of Windows were really nothing more than a graphical shell on top of the MS-DOS operating system. Look at the screen shots and you can see how primitive it all looked, especially when compared to the Macintosh which had nearly a two year head start. The windows could only be tiled against one another. There was no overlapping at all, and multitasking was available but limited.
I hope you enjoy this trip down old technology memory lane.
For more photographs of vintage technology from the early years of personal computing, visit my "Personal Computing in the 1970s & 80s" (Set).
Clean, white and black. Those are the keywords of this work. A graphic representation in which a plant plays the leading part.
3 image photo stack made with Sony A7Rm5 and Sony FE 90mm f/2.8 Macro G OSS
A custom graphical user interface (GUI) was developed for controlling the position of the RTM during installation. Staff Engineer Boyd Bowdish is seen here. (Jacqueline Orrell/SLAC National Accelerator Laboratory)
a modification of www.viemu.com/a_vi_vim_graphical_cheat_sheet_tutorial.html for colemak layout on a TypeMatrix keyboard.
Did you know you can switch a TypeMatrix 2030 to colemak with Fn+F5. It's a well-kept secret which i think should be better publicized!
Please ask if you want this as SVG or PDF.
'Schematic' is the key-word for the new pieces Dragot proposes in his participation of the most recent edition of Onufri show in the Museum of Tirana. By 'schematic' ,one has to understand the essential outcome of an information, the reduction to the purest single element , the 'graphical' outlines of an image or the retransformation of the specific into a prototype form of decrypting in order to be more easily read by a larger group of people. More easily read and looked at or the way comics or cartoons function. Not only does Dragot turns his attention to a larger group of people by using the technique of cartoon but in this specific case to the most fragile part of it:the children. Dragot ,once again, deals with the daily information which reaches us in succeeding "waves" of images, good and bad news(preferably bad because it does better feed our voracious appetite for sensation and thriller-like kicks , camouflaged banalities or one-hour scandals which often tend to disappear before they really destroy reputations HYENA & RATS On the new work of Robert Aliaj DRAGOT A CERTAIN DEGREE OF FICTION. 'Schematic' is the key-word for the new pieces Dragot proposes in his participation of the most recent edition of Onufri show in the Museum of Tirana. By 'schematic' ,one has to understand the essential outcome of an information, the reduction to the purest single element , the 'graphical' outlines of an image or the retransformation of the specific into a prototype form of decrypting in order to be more easily read by a larger group of people. More easily read and looked at or the way comics or cartoons function. Not only does Dragot turns his attention to a larger group of people by using the technique of cartoon but in this specific case to the most fragile part of it:the children. Dragot ,once again, deals with the daily information which reaches us in succeeding "waves" of images, good and bad news(preferably bad because it does better feed our voracious appetite for sensation and thriller-like kicks , camouflaged banalities or one-hour scandals which often tend to disappear before they really destroy reputations . Media are the most powerful predators on our small planet and media travel at the speed of media.It has its own logic.The other thing with media is that it exists as data or pure information and that it doesn't make any distinction between 'good 'or 'bad' ingredients. Only the reader does put the ethical full stop here. And the reader has to be protected or needs a certain kind of immunity in order to surf beyond risk.Because surfing is risky business and that is probably part of the message the artist wants us to understand. Because this daily 'tsunami' or non-stop flow of information is larger than we ,as adults,can digest and one does not need to be introduced in contemporary human behavior to understand that copy-cat attitudes often lead to exponential dramas such as high school shootings or 'hidden' agendas for group suicides (as was the case in Japan a couple of years ago).The point is often children are badly hit by the wrong contents.They simply are incapable to de-contectextualize and put it in a rational perspective. Fragilised people pay a great deal of attention towards the slightest change in the media and are as such more easily exploited.We all were introduced in the subtle strategies sooner or later.Part of growing up.. The artist has been gradually selecting images from the web .Images (stills and cellular videoshots) depicting "indoor" violence .Images which were meant to be consulted and commented by the same sort of people that throw them on this insiders 'stage'. This information, because of its illigal and illicit content is often taken off the web (read censored) under governmental or corporate pressure.It could indeed lead to embarassing incidents between governments or stimulate massive crowds in the streets if well conducted. In this endless stream of visual data ,the artist has saved and selected on 'You Tube' a small series of brutal videostills where Greek policemen were forcing Roma or Albanian youngsters (2 young men) to hit each other in the face harder and harder, under the amused eyes of the servicemen which are supposed to represent the law and order of a respectable member of the European Union.The cellular shots make one think of the pop song and videopiece "True Faith" once realised by New Order in the 80's where in some sort of choreography people were hitting each other in the face..or less popular the performance "Rythm 0 1974"by Marina Abramovic where she assigned a passive role to herself, with the public being the force which would act on her and gradually use more and more violence against her, enjoying the kick of the forbidden.. The You Tube images Dragot luckily saved(before they were removed) were not intended as a popsong neither as an artistic performance but where filmed by policemen with their private cell-phones and shortly after flung on the internet as the worst taste trophies imaginable .These youngsters were publicly exposed in a merciless orgy of cruelty. Now the information is one thing, treating the information is another thing,treating the information in an intelligent and emotionally balanced artwork is a completely different mission. Dragot started to select the crude 'matter' or 'matière première'(found footage on the net) and to sculpt it socially and artistically in order to slide it in collective memory by a rather fresh and funny (read cynical) strategy.Turning them into cartoons.. Doing so ,he manages to expand the dialogue towards a larger group of society . He refuses to pinpoint the artwork as the next cheap sensational micro scandal in the over-and-done-with academy of shock.(dating form the period BC read "before Crisis"). He devoids the sequence of images (selected stills from the shock video posted) of any recognisable realistic detail and turns the reality into a certain degree of fiction:a cartoon which transposes the action on a different level.Thus the artist decides to vehiculise the information into this fragile target we call children . Children are confronted with violence to an up-to-now unknown degree (useless to draw the lifelong list of video-games,movies,ads,newsflashes not to forget the most subtle of all: reality and needless to say that heaps of books treat this rather spooky subject and discussion panels turn in circles circumventing the real topic:the measurable impact of violence on the mind of the exposed child). Here in the Tirana Museum Dragot has draw huge size stills in a cartoon-like sequence of 6 or 8 images , life size, that is to say the average size of a just-not-teenager . The drawnings (stills sequence) on the wall are emptied of their short historical dimension of a drama which happened in protected police quarters in some capital city (Dragot says" it could be anywhere" .The kids only find the black outlines. On the floor of the museum ,lots of little boxes of 'multi-talent pencil' or wax crayons in a predefined range of colours. The piece is a large sort of "colorbook" and the children have to color in the various segments of the drawings as shown in the pinned up example.. A couple of schoolclasses are invited in the afternoon to color on the walls of this museum, and in the evening ,the piece is shown to the larger public. Has the violence been hidden or substracted out of the raw material (you tube cellular phone videos) and softened in order to protect the children or is the ultimate goal of the art project to accustom the kids to little doses of violence and maybe rediscover the true content?And where is that true content? It seems that the freshly and "disney colored" drawings warn us seriously for the highly manipulated way in which encapsulated violence might reach us since all violence is not visual,but rather subtly merchandised and consumable even for the most innocent sweeny toddlers. Extremely important is the fact that the artist has not forgotten the origin of his found footage and in an adjacent space,the visitor is confronted by the rawness and brutality of the lift off images for the project.The adult side of the piece?The true content? The visitor indeed goes the other way round just as the salmon swims up the river and therefore the result is much harder to take in.Black and white becomes color and color becomes video. This wake-up is directed to the conscience of the adult and leaves him critically behind with it..vision and sound this time.. koen wastijn november 2009
This video illustrates the prototype for the graphical user interface (GUI) CTAO operators will use for telescope control and monitoring of the array. The GUI is being designed by a team of physicists from CTAO, together with collaborators from the field of Human-Computer interaction. The video begins with a representation of the layout of a CTAO array, where each circle corresponds to a single telescope. The relative position of telescopes corresponds to a scaled physical layout on-site, constituting a pseudo-geographic display of the array. As the user zooms in, the status of the sub-systems of each telescope is revealed in increasing detail.
Learn more about CTA array control: www.cta-observatory.org/project/technology/array-control/
See more videos of the GUI on YouTube: www.youtube.com/playlist?list=PLSmiVc92qFFJG0kPQtYK0Y33fj...
Credit: Iftach Sadeh, DESY, astro.desy.de/gamma_astronomy/cta/
A Treated Crop taken from a portrait image of the Exterior of the Birmingham Library by Joel Bybee.
B'hamLibExtGPPcSqUpprMdlPSXB&W
I recommend clicking on the expansion arrows icon (top right corner) to go into the Lightbox for maximum effect.
Don't use or reproduce this image on Websites/Blog or any other media without my explicit permission.
© All Rights Reserved - Joel Bybee & Jim Goodyear 2015.
A graphical and abstract representation of the Shanghai Pudong Skyscrapers. One of my older photos I tried to recycle. Taken during a short visit to Shanghai in September 2015.
See also my write-up on this beautiful city at rogeliogarcangel.com/2015/09/15/a-new-orient/
The St Trinians girls are back, and Rushes, in collaboration with Matt Curtis of Abraham pants, have come up with the goods in the graphics department yet again, throwing their hats further into the fray with not only opening titles but also providing light-hearted graphical transitions, and visual narratives throughout the film to keep up the pace of the latest installment of the franchise.
Using the first film as a reference, Matt Curtis approached Rushes’ MGFX producer Warwick Hewett with an idea that would require the whole of the MGFX department at full throttle for the whole month. “Matt always brings us good stuff to work on, He seems to be on the same creative wavelength as our Head Designer Matt Lawrence, which has proved to be a fruitful partnership in the past across various projects, this one being no exception”.
Rushes was asked to create several elements: An opening title sequence, a main title sting, 4 shot transitions, 5 still graphics and a lengthy, 4 part sequence playing on the Google earth application all referencing the plot line of buried treasure, whilst trying to incorporate a little of the St. T’s girl’s anarchy. The idea gradually developed, and became a coherent and evolving set of graphics which sits in neatly throughout the film; starting with the opening titles and moving through to the final shot transitions.
“Matt’s brief focused on map and map elements being revealed either through ink splats or using ink as some sort of graphical device. As we started to play around with ideas though, it became clear that to get a truly inky feel we would have to shoot real ink splats … I’m glad we did, the transitions, wipes and little inky touches really sell the piece, much more so than trying to fake it with mattes or fades.” Matt Lawrence (Lead MGFX Designer) “Using the shot textures, as well as real map elements really allowed us to go to town on the opening sequence, layering ink footage and map sections with supplied graphics and generated content creating a truly immersive sequence, the idea being to really draw the viewer into the scene, get them involved immediately, make them feel part of the story as soon as it started”
To make sure the work was completed on time and to the high standards Rushes, Matt Curtis and the MGFX team are known for, workflow management was very important. “We split the work up as best we could to ease the bottleneck. While Matt was animating sections, I would be texturing the elements for him to drop in later, then, as they became more fully developed I would move onto a different animation and set that up while Barry Corcoran, our MGFX freelancer started on yet another. Spreading the workload was advantageous to everyone, from the client down, as each section was able to move forward almost simultaneously whilst easing the pressure on any one individual as nothing lay squarely on any one person’s or more importantly one machine’s shoulders” says Brad Le Riche (MGFX Designer).
The end result is yet another successful partnership with Matt Curtis and another film title sequence under Rushes’ belt, with the MGFX boys really starting to carve an MGFX shaped notch in the grain of the title sequence market.
Title: "St. Trinian's - The Legend of Fritton's Gold"
Product: Feature Film Titles & Motion Graphics
Agency: Abraham Pants
Director: Barnaby Thompson & Oliver Parker
Producer: Christian Colson
Production Company: Celador Films
Designer: Matt Curtis
Post Facility: Rushes
Rushes Producer: Louise Hussey
Rushes Assistant Producer: Warwick Hewett
After Effects: Matt Lawrence (Lead),
Brad Le Riche, Barry Corcoran
Cinema 4D: Matt Lawrence
Photoshop: Matt Lawrence, Brad Le Riche
After playing Colossal Cave Adventure, Roberta Williams looked for similar games and, when none were to be found, she decided to write her own with husband Ken Williams doing the coding. She added simple static line drawings, creating the first graphical adventure, Mystery House, with a plot based on Agatha Christie's And Then There Were None. Her next game, The Wizard and the Princess: Adventure in Serenia, added fill color to the graphics.
With King's Quest I, Sierra brought animated graphics to the genre. The characters could be moved behind and in front of the objects in the scenery, which was drawn with perspective, giving the illusion of 3-D space. While Sierra would soon become the best-known developer of adventure games, the first release of King's Quest was a commercial failure. It became successful only after a long series of re-releases and improvements. Once King's Quest took off, Sierra branched into several franchises, including Space Quest, Police Quest, and Quest for Glory.
Paralleling Sierra's rise in adventure games was Lucasfilm Games, a competing company making similar games. Lucasfilm Games was able to tap into the franchises of its parent company, Lucasfilm, and produced a line of adventure games based around Indiana Jones. While it is likely best known for The Secret of Monkey Island, Lucasfilm produced many other popular and important adventure games, including Sam and Max, Day of the Tentacle, and Loom. Maniac Mansion was the first game to remove typing text entirely from the adventure, and their Script Creation Utility for Maniac Mansion (SCUMM) was built to allow a point-and-click interface.
By 1990, Lucasfilm and Sierra had distinctly different adventure game philosophies. Sierra games contained many instant-death hazards, ranging from the obvious to the unexpected. Worse, avoiding those hazards was by no means a guarantee of success, as several Sierra games were notorious for situations where the player could simply miss a critical item, rendering the game unwinnable.
Conversely, Lucasfilm games were nearly impossible to lose. You were almost, if not entirely, guaranteed to be able to save the game at any point and know that you could still reach the ending. Several Lucasfilm games parodied the Sierra approach, with jokes poking fun at the ability to "lose", sometimes including fake Sierra-style death screens.
Freer Water Control and Improvement District (FWCID) Manager Diana Adame checks the status of the Arsenic Removal System Absorber vessels by using a graphical computer interface in the operations office, on Tuesday June 18, 2013, in Freer Texas.
Although, the naturally occurring arsenic levels have remained constant for more than a century, the Environmental Protection Agency (EPA) safe level standards have established lower levels of arsenic to be safe for human consumption. To meet those levels FWCID approached USDA and was awarded a $986,000 loan for Phase I, to install two new water wells, each rated at 167 gallons per minute (creating a total of eight wells); 13,600 feet of well collection lines; and 15,000 linear feet of well control line to remotely control the well pumps and the 1,000,000 gallon holding tank at the well facility, which supplies water to the new Arsenic Removal System (Phase II). Previously, water was manually controlled by personnel who knew when and how long to manually opened and closed water valves or started well pumps to ensure holding tank levels were within operating levels during peek and slack times of the day. Phase II was a combination of a $1,832,000 loan and a $1,258,750 grant, which provided for the customized arsenic removal system, seen in these photos. The system includes a new 3,530 sp. ft. facility, on a .76-acre site, and houses the operations room, computer and power system, laboratory room, and pump systems. The entire operation can be monitored through a desktop computer interface system. The computer-controlled system ensures raw water is fed to the arsenic removal pump system, which works in sequence to maintain a constant pressure, when needed, to pump water through (blue) arsenic removal absorber vessels, and into ground storage tanks that feeds the residential and commercial needs of the city. Samples of water are periodically tested; and so far the arsenic levels have been below 1 part per billion (PPB), well under the 10 PPB limit. USDA Photo by Lance Cheung.
The St Trinians girls are back, and Rushes, in collaboration with Matt Curtis of Abraham pants, have come up with the goods in the graphics department yet again, throwing their hats further into the fray with not only opening titles but also providing light-hearted graphical transitions, and visual narratives throughout the film to keep up the pace of the latest installment of the franchise.
Using the first film as a reference, Matt Curtis approached Rushes’ MGFX producer Warwick Hewett with an idea that would require the whole of the MGFX department at full throttle for the whole month. “Matt always brings us good stuff to work on, He seems to be on the same creative wavelength as our Head Designer Matt Lawrence, which has proved to be a fruitful partnership in the past across various projects, this one being no exception”.
Rushes was asked to create several elements: An opening title sequence, a main title sting, 4 shot transitions, 5 still graphics and a lengthy, 4 part sequence playing on the Google earth application all referencing the plot line of buried treasure, whilst trying to incorporate a little of the St. T’s girl’s anarchy. The idea gradually developed, and became a coherent and evolving set of graphics which sits in neatly throughout the film; starting with the opening titles and moving through to the final shot transitions.
“Matt’s brief focused on map and map elements being revealed either through ink splats or using ink as some sort of graphical device. As we started to play around with ideas though, it became clear that to get a truly inky feel we would have to shoot real ink splats … I’m glad we did, the transitions, wipes and little inky touches really sell the piece, much more so than trying to fake it with mattes or fades.” Matt Lawrence (Lead MGFX Designer) “Using the shot textures, as well as real map elements really allowed us to go to town on the opening sequence, layering ink footage and map sections with supplied graphics and generated content creating a truly immersive sequence, the idea being to really draw the viewer into the scene, get them involved immediately, make them feel part of the story as soon as it started”
To make sure the work was completed on time and to the high standards Rushes, Matt Curtis and the MGFX team are known for, workflow management was very important. “We split the work up as best we could to ease the bottleneck. While Matt was animating sections, I would be texturing the elements for him to drop in later, then, as they became more fully developed I would move onto a different animation and set that up while Barry Corcoran, our MGFX freelancer started on yet another. Spreading the workload was advantageous to everyone, from the client down, as each section was able to move forward almost simultaneously whilst easing the pressure on any one individual as nothing lay squarely on any one person’s or more importantly one machine’s shoulders” says Brad Le Riche (MGFX Designer).
The end result is yet another successful partnership with Matt Curtis and another film title sequence under Rushes’ belt, with the MGFX boys really starting to carve an MGFX shaped notch in the grain of the title sequence market.
Title: "St. Trinian's - The Legend of Fritton's Gold"
Product: Feature Film Titles & Motion Graphics
Agency: Abraham Pants
Director: Barnaby Thompson & Oliver Parker
Producer: Christian Colson
Production Company: Celador Films
Designer: Matt Curtis
Post Facility: Rushes
Rushes Producer: Louise Hussey
Rushes Assistant Producer: Warwick Hewett
After Effects: Matt Lawrence (Lead),
Brad Le Riche, Barry Corcoran
Cinema 4D: Matt Lawrence
Photoshop: Matt Lawrence, Brad Le Riche
This bronze Font Cast by Bernhard Witte (German collegiate goldsmith) B 7/8/1868 D 11/12/1947, he did much of the work on the Abbey between 1907-1932. The font is a copy of the font in Hildesheim Cathedral in Germany. The figures on the side of the font, give a graphical account of Christian Baptism - for example, the Israelites passing through the Red Sea, and the baptism of Christ in the River Jordan.
At the base of the font, there are four kneeling figures. These figures are the symbols of the four great rivers of paradise, Gihon, Tigris, Phison and Euphrates. The font weighs 317 kg. The heavy cover is raised by means of a system of counterweights above the ceiling.
Official list entry
Heritage Category: Listed Building
Grade: II*
List Entry Number: 1209774
Date first listed: 10-Jan-1951
Statutory Address 1: CHURCH OF ST MARY, BUCKFAST ABBEY, BUCKFAST ROAD
Location
Statutory Address: CHURCH OF ST MARY, BUCKFAST ABBEY, BUCKFAST ROAD
County: Devon
District: Teignbridge (District Authority)
Parish: Buckfastleigh
National Park: DARTMOOR
National Grid Reference: SX 74147 67411
Details
Abbey church. Built 1907-1932, on the foundations of the medieval Cistercian abbey church (except the east end). FA Walters. For the Benedictine monks who established a house here in 1882. Most of the building work was carried out by a small group of monks working under a master mason. Snecked local grey limestone with Ham Hill dressings; copper roof. Style "mixture of English Cistercian and French early Gothic" (Pevsner). 1965 east end Blessed Sacrament chapel to the designs of Paul Pearn. Plan: church with 8-bay lean-to aisles plus galleried western bay; central crossing tower; transepts with chapels; 3-bay choir with choir aisles; east end Blessed Sacrament chapel with undercroft. EXTERIOR: west end of nave with flanking projecting buttresses containing stairs to gallery, rising as pinnacles with broach spire roofs, bases and pinnacles decorated with blind arcading. Round-headed west doorway with shafts, left and right shafts with cushion capitals and carved gable. Doorway has 3 orders of zigzag, billet and chevron moulding on engaged shafts; 2-leaf door with elaborate ironwork. Above the doorway a recessed 3-centred blind moulded arch containing 2 round-headed windows with shafts and a roundel window above. Above the archway blind arcading decorates the gable. West ends of lean-to aisles have smaller versions of the buttresses flanking the nave and paired round-headed openings (one blind) with roundels above. North side of 9-bay nave has pilasters and a corbelled parapet. Round-headed triforium windows linked by string rising as continuous hoodmould. Nave with parapet and round-headed windows, the hoodmould string interrupted by the pilasters. Small gabled porch in second bay from the west with set-back buttresses, parapet and round-headed outer doorway with shafts and chevron-carved arch. Easternmost 2 bays of aisle with taller roof and blind arcading above the windows. North end of north transept with tall paired arches containing 4 tiers of glazed blind and glazed windows, either round-headed or roundels. East side of transept has one-bay chapel. The choir continues in the same style with lean-to choir aisle roofs. 1965 concrete east end chapel on 4 columns with shallow gabled roof. Tower with 3 stages above nave roof. Clasping pilasters; corner pinnacles with 2 tiers of blind arcading and broach spires, crow-stepped parapet. Lower stage has lancet windows in round-headed recesses, middle stage has small lancet windows in moulded arched recesses; 2-light plate-traceried louvred belfry windows. INTERIOR: Stone-vaulted, the aisles with transverse vaults. Arcades with piers with engaged shafts and chamfred and moulded arches. Nave rib vault with red sandstone infill. Triforium has a pair of 2-light pointed arches to each bay with super-ordinate round-headed blind arch. Aisle walls decorated with blind round-headed recesses containing triple round-headed arches on shafts with moulded bases and carved capitals. Stone-vaulted west end gallery on piers with canted bays to parapet. Tower arches on short paired shafts with moulded bases and carved capitals. Crossing has corbelled stone gallery; transepts have simple galleries on moulded corbels with cast-iron railings. Choir has similar detail to nave but carved, not moulded capitals and stone infill to the vaulting of choir and choir aisles. East end of sanctuary has 2 round-headed arches and 2 round-headed windows above the triforium with a central shaft rising to a carving of the Coronation of the Virgin. The furnishings, floors, painted decoration and stained glass are unexpectedly lavish, particularly the outstanding metalwork, which is mostly 1928-1932 by Bernhard Witte of Aachen, inspired by German Romanesque metalwork and described in some detail in Pevsner. The stained glass is a remarkable collection, mostly still in the medievalising Victorian tradition and of the highest quality. In addition the church contains a C16 ivory crucifix donated by the Clifford family of Ugbrooke, the leading Roman Catholic family in Devon. 1965 Blessed Sacrament chapel by Paul Pearn conceived as a setting for ambitious mosaic stained glass designed by Father Charles Norris, one of the Buckfast Abbey monks. Historical note: the rebuilding of the abbey church by the Buckfast monks was well-publicised in the national and local press and one of the monks with an interest in photography recorded much of the work: the archive is held by the abbey. Buckfast Abbey became an important focus for Roman Catholicism in Devon in the late C19 and C20 with the monks serving private chapels in the area, including Ugbrooke in Chudleigh for the Clifford family and Dundridge in Harberton for the wife of Sir John Harvey. (Buildings of England: Pevsner N: Devon: London: 1989-: 222-226).
© Historic England 2022
Chinatown is a Chinese translation of the trademarks in a graphical way. It’s a carefully arranged series of artworks showcasing 20 well-known western brand logos with maintained visual and narrative continuity.
Chinatown reflects our branded world of the near future through Chinese letters with the classical neon sign style of China. It uses basic words for translation, such as “Caramel Macchiato” for “Starbucks” in order to maintain the visual continuity. By arranging the words this way, Chinatown pushes viewers to ask themselves what it means to see, hear, and become fully aware. Chinatown also demonstrates our strangeness to 1,35 billion people in the world, when you can’t read Chinese.
All of the brand logos are converted to neon style spot colours and line-based variations. Indeed, neon lights are not used as a medium but as a cultural symbol, which represent the aesthetic codes of China.
© 2012 / 2014
The St Trinians girls are back, and Rushes, in collaboration with Matt Curtis of Abraham pants, have come up with the goods in the graphics department yet again, throwing their hats further into the fray with not only opening titles but also providing light-hearted graphical transitions, and visual narratives throughout the film to keep up the pace of the latest installment of the franchise.
Using the first film as a reference, Matt Curtis approached Rushes’ MGFX producer Warwick Hewett with an idea that would require the whole of the MGFX department at full throttle for the whole month. “Matt always brings us good stuff to work on, He seems to be on the same creative wavelength as our Head Designer Matt Lawrence, which has proved to be a fruitful partnership in the past across various projects, this one being no exception”.
Rushes was asked to create several elements: An opening title sequence, a main title sting, 4 shot transitions, 5 still graphics and a lengthy, 4 part sequence playing on the Google earth application all referencing the plot line of buried treasure, whilst trying to incorporate a little of the St. T’s girl’s anarchy. The idea gradually developed, and became a coherent and evolving set of graphics which sits in neatly throughout the film; starting with the opening titles and moving through to the final shot transitions.
“Matt’s brief focused on map and map elements being revealed either through ink splats or using ink as some sort of graphical device. As we started to play around with ideas though, it became clear that to get a truly inky feel we would have to shoot real ink splats … I’m glad we did, the transitions, wipes and little inky touches really sell the piece, much more so than trying to fake it with mattes or fades.” Matt Lawrence (Lead MGFX Designer) “Using the shot textures, as well as real map elements really allowed us to go to town on the opening sequence, layering ink footage and map sections with supplied graphics and generated content creating a truly immersive sequence, the idea being to really draw the viewer into the scene, get them involved immediately, make them feel part of the story as soon as it started”
To make sure the work was completed on time and to the high standards Rushes, Matt Curtis and the MGFX team are known for, workflow management was very important. “We split the work up as best we could to ease the bottleneck. While Matt was animating sections, I would be texturing the elements for him to drop in later, then, as they became more fully developed I would move onto a different animation and set that up while Barry Corcoran, our MGFX freelancer started on yet another. Spreading the workload was advantageous to everyone, from the client down, as each section was able to move forward almost simultaneously whilst easing the pressure on any one individual as nothing lay squarely on any one person’s or more importantly one machine’s shoulders” says Brad Le Riche (MGFX Designer).
The end result is yet another successful partnership with Matt Curtis and another film title sequence under Rushes’ belt, with the MGFX boys really starting to carve an MGFX shaped notch in the grain of the title sequence market.
Title: "St. Trinian's - The Legend of Fritton's Gold"
Product: Feature Film Titles & Motion Graphics
Agency: Abraham Pants
Director: Barnaby Thompson & Oliver Parker
Producer: Christian Colson
Production Company: Celador Films
Designer: Matt Curtis
Post Facility: Rushes
Rushes Producer: Louise Hussey
Rushes Assistant Producer: Warwick Hewett
After Effects: Matt Lawrence (Lead),
Brad Le Riche, Barry Corcoran
Cinema 4D: Matt Lawrence
Photoshop: Matt Lawrence, Brad Le Riche
The St Trinians girls are back, and Rushes, in collaboration with Matt Curtis of Abraham pants, have come up with the goods in the graphics department yet again, throwing their hats further into the fray with not only opening titles but also providing light-hearted graphical transitions, and visual narratives throughout the film to keep up the pace of the latest installment of the franchise.
Using the first film as a reference, Matt Curtis approached Rushes’ MGFX producer Warwick Hewett with an idea that would require the whole of the MGFX department at full throttle for the whole month. “Matt always brings us good stuff to work on, He seems to be on the same creative wavelength as our Head Designer Matt Lawrence, which has proved to be a fruitful partnership in the past across various projects, this one being no exception”.
Rushes was asked to create several elements: An opening title sequence, a main title sting, 4 shot transitions, 5 still graphics and a lengthy, 4 part sequence playing on the Google earth application all referencing the plot line of buried treasure, whilst trying to incorporate a little of the St. T’s girl’s anarchy. The idea gradually developed, and became a coherent and evolving set of graphics which sits in neatly throughout the film; starting with the opening titles and moving through to the final shot transitions.
“Matt’s brief focused on map and map elements being revealed either through ink splats or using ink as some sort of graphical device. As we started to play around with ideas though, it became clear that to get a truly inky feel we would have to shoot real ink splats … I’m glad we did, the transitions, wipes and little inky touches really sell the piece, much more so than trying to fake it with mattes or fades.” Matt Lawrence (Lead MGFX Designer) “Using the shot textures, as well as real map elements really allowed us to go to town on the opening sequence, layering ink footage and map sections with supplied graphics and generated content creating a truly immersive sequence, the idea being to really draw the viewer into the scene, get them involved immediately, make them feel part of the story as soon as it started”
To make sure the work was completed on time and to the high standards Rushes, Matt Curtis and the MGFX team are known for, workflow management was very important. “We split the work up as best we could to ease the bottleneck. While Matt was animating sections, I would be texturing the elements for him to drop in later, then, as they became more fully developed I would move onto a different animation and set that up while Barry Corcoran, our MGFX freelancer started on yet another. Spreading the workload was advantageous to everyone, from the client down, as each section was able to move forward almost simultaneously whilst easing the pressure on any one individual as nothing lay squarely on any one person’s or more importantly one machine’s shoulders” says Brad Le Riche (MGFX Designer).
The end result is yet another successful partnership with Matt Curtis and another film title sequence under Rushes’ belt, with the MGFX boys really starting to carve an MGFX shaped notch in the grain of the title sequence market.
Title: "St. Trinian's - The Legend of Fritton's Gold"
Product: Feature Film Titles & Motion Graphics
Agency: Abraham Pants
Director: Barnaby Thompson & Oliver Parker
Producer: Christian Colson
Production Company: Celador Films
Designer: Matt Curtis
Post Facility: Rushes
Rushes Producer: Louise Hussey
Rushes Assistant Producer: Warwick Hewett
After Effects: Matt Lawrence (Lead),
Brad Le Riche, Barry Corcoran
Cinema 4D: Matt Lawrence
Photoshop: Matt Lawrence, Brad Le Riche
The St Trinians girls are back, and Rushes, in collaboration with Matt Curtis of Abraham pants, have come up with the goods in the graphics department yet again, throwing their hats further into the fray with not only opening titles but also providing light-hearted graphical transitions, and visual narratives throughout the film to keep up the pace of the latest installment of the franchise.
Using the first film as a reference, Matt Curtis approached Rushes’ MGFX producer Warwick Hewett with an idea that would require the whole of the MGFX department at full throttle for the whole month. “Matt always brings us good stuff to work on, He seems to be on the same creative wavelength as our Head Designer Matt Lawrence, which has proved to be a fruitful partnership in the past across various projects, this one being no exception”.
Rushes was asked to create several elements: An opening title sequence, a main title sting, 4 shot transitions, 5 still graphics and a lengthy, 4 part sequence playing on the Google earth application all referencing the plot line of buried treasure, whilst trying to incorporate a little of the St. T’s girl’s anarchy. The idea gradually developed, and became a coherent and evolving set of graphics which sits in neatly throughout the film; starting with the opening titles and moving through to the final shot transitions.
“Matt’s brief focused on map and map elements being revealed either through ink splats or using ink as some sort of graphical device. As we started to play around with ideas though, it became clear that to get a truly inky feel we would have to shoot real ink splats … I’m glad we did, the transitions, wipes and little inky touches really sell the piece, much more so than trying to fake it with mattes or fades.” Matt Lawrence (Lead MGFX Designer) “Using the shot textures, as well as real map elements really allowed us to go to town on the opening sequence, layering ink footage and map sections with supplied graphics and generated content creating a truly immersive sequence, the idea being to really draw the viewer into the scene, get them involved immediately, make them feel part of the story as soon as it started”
To make sure the work was completed on time and to the high standards Rushes, Matt Curtis and the MGFX team are known for, workflow management was very important. “We split the work up as best we could to ease the bottleneck. While Matt was animating sections, I would be texturing the elements for him to drop in later, then, as they became more fully developed I would move onto a different animation and set that up while Barry Corcoran, our MGFX freelancer started on yet another. Spreading the workload was advantageous to everyone, from the client down, as each section was able to move forward almost simultaneously whilst easing the pressure on any one individual as nothing lay squarely on any one person’s or more importantly one machine’s shoulders” says Brad Le Riche (MGFX Designer).
The end result is yet another successful partnership with Matt Curtis and another film title sequence under Rushes’ belt, with the MGFX boys really starting to carve an MGFX shaped notch in the grain of the title sequence market.
Title: "St. Trinian's - The Legend of Fritton's Gold"
Product: Feature Film Titles & Motion Graphics
Agency: Abraham Pants
Director: Barnaby Thompson & Oliver Parker
Producer: Christian Colson
Production Company: Celador Films
Designer: Matt Curtis
Post Facility: Rushes
Rushes Producer: Louise Hussey
Rushes Assistant Producer: Warwick Hewett
After Effects: Matt Lawrence (Lead),
Brad Le Riche, Barry Corcoran
Cinema 4D: Matt Lawrence
Photoshop: Matt Lawrence, Brad Le Riche
The St Trinians girls are back, and Rushes, in collaboration with Matt Curtis of Abraham pants, have come up with the goods in the graphics department yet again, throwing their hats further into the fray with not only opening titles but also providing light-hearted graphical transitions, and visual narratives throughout the film to keep up the pace of the latest installment of the franchise.
Using the first film as a reference, Matt Curtis approached Rushes’ MGFX producer Warwick Hewett with an idea that would require the whole of the MGFX department at full throttle for the whole month. “Matt always brings us good stuff to work on, He seems to be on the same creative wavelength as our Head Designer Matt Lawrence, which has proved to be a fruitful partnership in the past across various projects, this one being no exception”.
Rushes was asked to create several elements: An opening title sequence, a main title sting, 4 shot transitions, 5 still graphics and a lengthy, 4 part sequence playing on the Google earth application all referencing the plot line of buried treasure, whilst trying to incorporate a little of the St. T’s girl’s anarchy. The idea gradually developed, and became a coherent and evolving set of graphics which sits in neatly throughout the film; starting with the opening titles and moving through to the final shot transitions.
“Matt’s brief focused on map and map elements being revealed either through ink splats or using ink as some sort of graphical device. As we started to play around with ideas though, it became clear that to get a truly inky feel we would have to shoot real ink splats … I’m glad we did, the transitions, wipes and little inky touches really sell the piece, much more so than trying to fake it with mattes or fades.” Matt Lawrence (Lead MGFX Designer) “Using the shot textures, as well as real map elements really allowed us to go to town on the opening sequence, layering ink footage and map sections with supplied graphics and generated content creating a truly immersive sequence, the idea being to really draw the viewer into the scene, get them involved immediately, make them feel part of the story as soon as it started”
To make sure the work was completed on time and to the high standards Rushes, Matt Curtis and the MGFX team are known for, workflow management was very important. “We split the work up as best we could to ease the bottleneck. While Matt was animating sections, I would be texturing the elements for him to drop in later, then, as they became more fully developed I would move onto a different animation and set that up while Barry Corcoran, our MGFX freelancer started on yet another. Spreading the workload was advantageous to everyone, from the client down, as each section was able to move forward almost simultaneously whilst easing the pressure on any one individual as nothing lay squarely on any one person’s or more importantly one machine’s shoulders” says Brad Le Riche (MGFX Designer).
The end result is yet another successful partnership with Matt Curtis and another film title sequence under Rushes’ belt, with the MGFX boys really starting to carve an MGFX shaped notch in the grain of the title sequence market.
Title: "St. Trinian's - The Legend of Fritton's Gold"
Product: Feature Film Titles & Motion Graphics
Agency: Abraham Pants
Director: Barnaby Thompson & Oliver Parker
Producer: Christian Colson
Production Company: Celador Films
Designer: Matt Curtis
Post Facility: Rushes
Rushes Producer: Louise Hussey
Rushes Assistant Producer: Warwick Hewett
After Effects: Matt Lawrence (Lead),
Brad Le Riche, Barry Corcoran
Cinema 4D: Matt Lawrence
Photoshop: Matt Lawrence, Brad Le Riche
The day before last, I uploaded a picture of the Blue Screen of Death, which is a screen that is all too familiar to users of the Microsoft Windows Operating System. I mentioned in my narrative that the 25th anniversary of Windows will be observed later this year. Which got me to thinking about Windows 1.0.
I made a visit to my basement archives looking for examples of some of the early advertising Microsoft did for Windows. What I found was a six-page, glossy advertisement for Windows that appeared in the January, 1986 issue of Byte Magazine which, at that time, was the pre-eminent microcomputer publication.
Microsoft was a heavy advertiser in Byte, and this is the first Windows advertisement to appear in that magazine. I don't know whether this is the very first Microsoft Windows advertisement, but it is certainly one of the first. I've left the images full size so all six pages can be clear read when enlarged to full size.
The release of Microsoft Windows 1.0 did not receive the kind of attention associated with later Window's releases. I haven't found any flashy cover stories in the PC rags that immediately followed the release of Windows 1.0 in November, 1985. With the exception of Mac users, not everyone was sold yet on the benefits of a graphical user interface. And, on the Windows side of things, there weren't any killer apps. Actually, there were barely any Window's application other than those included by Microsoft with the installation disks (it came on floppy's).
The other thing to keep in mind is that the early versions of Windows were really nothing more than a graphical shell on top of the MS-DOS operating system. Look at the screen shots and you can see how primitive it all looked, especially when compared to the Macintosh which had nearly a two year head start. The windows could only be tiled against one another. There was no overlapping at all, and multitasking was available but limited.
I hope you enjoy this trip down old technology memory lane.
For more photographs of vintage technology from the early years of personal computing, visit my "Personal Computing in the 1970s & 80s" (Set).
Count the screens. The bonus for guessing the tv show on was for iVicarious.
Yeah, a student's desk can't be the tidiest
I wanted to try something new in using an outer 1:1 framing combined with some parallelogram-shaped inner frame. To emphasize the framing in this case I reduced as strongly as possible the picture itself in using a) B/W and b) very high contrast. The relation of the picture to the horizon is given just by the trees mean orientation in the background. Even the tree in the foreground does not allow to deduce the horizon line. The tree is slightly bend to the right, what counter acts the falling of the picture to the left and reduces therefore the tension in the shot slightly. Tension is kept however - a strange result. Hmmm ...
'Schematic' is the key-word for the new pieces Dragot proposes in his participation of the most recent edition of Onufri show in the Museum of Tirana. By 'schematic' ,one has to understand the essential outcome of an information, the reduction to the purest single element , the 'graphical' outlines of an image or the retransformation of the specific into a prototype form of decrypting in order to be more easily read by a larger group of people. More easily read and looked at or the way comics or cartoons function. Not only does Dragot turns his attention to a larger group of people by using the technique of cartoon but in this specific case to the most fragile part of it:the children. Dragot ,once again, deals with the daily information which reaches us in succeeding "waves" of images, good and bad news(preferably bad because it does better feed our voracious appetite for sensation and thriller-like kicks , camouflaged banalities or one-hour scandals which often tend to disappear before they really destroy reputations HYENA & RATS On the new work of Robert Aliaj DRAGOT A CERTAIN DEGREE OF FICTION. 'Schematic' is the key-word for the new pieces Dragot proposes in his participation of the most recent edition of Onufri show in the Museum of Tirana. By 'schematic' ,one has to understand the essential outcome of an information, the reduction to the purest single element , the 'graphical' outlines of an image or the retransformation of the specific into a prototype form of decrypting in order to be more easily read by a larger group of people. More easily read and looked at or the way comics or cartoons function. Not only does Dragot turns his attention to a larger group of people by using the technique of cartoon but in this specific case to the most fragile part of it:the children. Dragot ,once again, deals with the daily information which reaches us in succeeding "waves" of images, good and bad news(preferably bad because it does better feed our voracious appetite for sensation and thriller-like kicks , camouflaged banalities or one-hour scandals which often tend to disappear before they really destroy reputations . Media are the most powerful predators on our small planet and media travel at the speed of media.It has its own logic.The other thing with media is that it exists as data or pure information and that it doesn't make any distinction between 'good 'or 'bad' ingredients. Only the reader does put the ethical full stop here. And the reader has to be protected or needs a certain kind of immunity in order to surf beyond risk.Because surfing is risky business and that is probably part of the message the artist wants us to understand. Because this daily 'tsunami' or non-stop flow of information is larger than we ,as adults,can digest and one does not need to be introduced in contemporary human behavior to understand that copy-cat attitudes often lead to exponential dramas such as high school shootings or 'hidden' agendas for group suicides (as was the case in Japan a couple of years ago).The point is often children are badly hit by the wrong contents.They simply are incapable to de-contectextualize and put it in a rational perspective. Fragilised people pay a great deal of attention towards the slightest change in the media and are as such more easily exploited.We all were introduced in the subtle strategies sooner or later.Part of growing up.. The artist has been gradually selecting images from the web .Images (stills and cellular videoshots) depicting "indoor" violence .Images which were meant to be consulted and commented by the same sort of people that throw them on this insiders 'stage'. This information, because of its illigal and illicit content is often taken off the web (read censored) under governmental or corporate pressure.It could indeed lead to embarassing incidents between governments or stimulate massive crowds in the streets if well conducted. In this endless stream of visual data ,the artist has saved and selected on 'You Tube' a small series of brutal videostills where Greek policemen were forcing Roma or Albanian youngsters (2 young men) to hit each other in the face harder and harder, under the amused eyes of the servicemen which are supposed to represent the law and order of a respectable member of the European Union.The cellular shots make one think of the pop song and videopiece "True Faith" once realised by New Order in the 80's where in some sort of choreography people were hitting each other in the face..or less popular the performance "Rythm 0 1974"by Marina Abramovic where she assigned a passive role to herself, with the public being the force which would act on her and gradually use more and more violence against her, enjoying the kick of the forbidden.. The You Tube images Dragot luckily saved(before they were removed) were not intended as a popsong neither as an artistic performance but where filmed by policemen with their private cell-phones and shortly after flung on the internet as the worst taste trophies imaginable .These youngsters were publicly exposed in a merciless orgy of cruelty. Now the information is one thing, treating the information is another thing,treating the information in an intelligent and emotionally balanced artwork is a completely different mission. Dragot started to select the crude 'matter' or 'matière première'(found footage on the net) and to sculpt it socially and artistically in order to slide it in collective memory by a rather fresh and funny (read cynical) strategy.Turning them into cartoons.. Doing so ,he manages to expand the dialogue towards a larger group of society . He refuses to pinpoint the artwork as the next cheap sensational micro scandal in the over-and-done-with academy of shock.(dating form the period BC read "before Crisis"). He devoids the sequence of images (selected stills from the shock video posted) of any recognisable realistic detail and turns the reality into a certain degree of fiction:a cartoon which transposes the action on a different level.Thus the artist decides to vehiculise the information into this fragile target we call children . Children are confronted with violence to an up-to-now unknown degree (useless to draw the lifelong list of video-games,movies,ads,newsflashes not to forget the most subtle of all: reality and needless to say that heaps of books treat this rather spooky subject and discussion panels turn in circles circumventing the real topic:the measurable impact of violence on the mind of the exposed child). Here in the Tirana Museum Dragot has draw huge size stills in a cartoon-like sequence of 6 or 8 images , life size, that is to say the average size of a just-not-teenager . The drawnings (stills sequence) on the wall are emptied of their short historical dimension of a drama which happened in protected police quarters in some capital city (Dragot says" it could be anywhere" .The kids only find the black outlines. On the floor of the museum ,lots of little boxes of 'multi-talent pencil' or wax crayons in a predefined range of colours. The piece is a large sort of "colorbook" and the children have to color in the various segments of the drawings as shown in the pinned up example.. A couple of schoolclasses are invited in the afternoon to color on the walls of this museum, and in the evening ,the piece is shown to the larger public. Has the violence been hidden or substracted out of the raw material (you tube cellular phone videos) and softened in order to protect the children or is the ultimate goal of the art project to accustom the kids to little doses of violence and maybe rediscover the true content?And where is that true content? It seems that the freshly and "disney colored" drawings warn us seriously for the highly manipulated way in which encapsulated violence might reach us since all violence is not visual,but rather subtly merchandised and consumable even for the most innocent sweeny toddlers. Extremely important is the fact that the artist has not forgotten the origin of his found footage and in an adjacent space,the visitor is confronted by the rawness and brutality of the lift off images for the project.The adult side of the piece?The true content? The visitor indeed goes the other way round just as the salmon swims up the river and therefore the result is much harder to take in.Black and white becomes color and color becomes video. This wake-up is directed to the conscience of the adult and leaves him critically behind with it..vision and sound this time.. koen wastijn november 2009
The day before last, I uploaded a picture of the Blue Screen of Death, which is a screen that is all too familiar to users of the Microsoft Windows Operating System. I mentioned in my narrative that the 25th anniversary of Windows will be observed later this year. Which got me to thinking about Windows 1.0.
I made a visit to my basement archives looking for examples of some of the early advertising Microsoft did for Windows. What I found was a six-page, glossy advertisement for Windows that appeared in the January, 1986 issue of Byte Magazine which, at that time, was the pre-eminent microcomputer publication.
Microsoft was a heavy advertiser in Byte, and this is the first Windows advertisement to appear in that magazine. I don't know whether this is the very first Microsoft Windows advertisement, but it is certainly one of the first. I've left the images full size so all six pages can be clear read when enlarged to full size.
The release of Microsoft Windows 1.0 did not receive the kind of attention associated with later Window's releases. I haven't found any flashy cover stories in the PC rags that immediately followed the release of Windows 1.0 in November, 1985. With the exception of Mac users, not everyone was sold yet on the benefits of a graphical user interface. And, on the Windows side of things, there weren't any killer apps. Actually, there were barely any Window's application other than those included by Microsoft with the installation disks (it came on floppy's).
The other thing to keep in mind is that the early versions of Windows were really nothing more than a graphical shell on top of the MS-DOS operating system. Look at the screen shots and you can see how primitive it all looked, especially when compared to the Macintosh which had nearly a two year head start. The windows could only be tiled against one another. There was no overlapping at all, and multitasking was available but limited.
I hope you enjoy this trip down old technology memory lane.
For more photographs of vintage technology from the early years of personal computing, visit my "Personal Computing in the 1970s & 80s" (Set).
Quick shots of my contribution to the "Master Graphical Arts" editorial in Advanced Photoshop Magazine #52. Displayed is a quick breakdown of how I built the "White Shrine" poster and my "Worship" poster. Other artists interviewed in the editorial:
Julien Vallée: www.jvallee.com/
Mario Hugo: www.loveworn.com/
Oh Yeah Studio: www.ohyeahstudio.no/
Nazario Graziano: www.ngdesign.it/
This was given to me in 1991, another implementation of "Clint represented as art" from the Bowen family. Aunt Beth did her collage, while Laine did this drawing. Both had some dark fantasy elements. The collage had pictures of me, and writings by me as a child, and showed my music love more (guitar, Misfits shirt). This art showed some things the collage didn't.
For one, my "famous" phrase of "Too much O!" You see, "work" is such a horrible word that I called it "the O word" back then. It was not "the W word", because that adds too many sylables to it. "W" has as many sylablles as "The O word"! So "too much O" became a frequent response to wanting to avoid work in certain situations. Tho I'm not sure why a dinosaur is saying it. But the other dinosaur is listening to music, so I guess the dinosaur is me (which I just realized, but explains the backpack).
This drawing also has Rocky Horror listed, which is something I still do to this day.
This drawing also shows my intense love of consuming Coke in mass quanities, which I soon spurned after not being allowed to donate blood, seeing a cardiologist, finding out that I have Mitral valve prolapse (which is supposedly better now, but would explain my recent fainting spells at concerts).
I'd identify the other bottles as liquor bottles, except I don't think I was drinking a lot of liquor in 1991. In 1991, I had gotten drunk like 6 times ever, but bought cigarettes. So I'm not sure what the bottles are. Nor am I sure what some of the figurines represent. But of course I love pizza! (Not popcorn, though. The paper seed coverings tend to get stuck behind the membrane that connectsmy mouth to my throat, and then I have to stick my finger back there, which is nasty to have to do!)
The knight most likely represents my knight armor (named Nutrasweet) which I still have in my living room today. And see the basketball in death's left hand? That's the only sport I ever played in a league. For *2* years. I especially hated it the 2nd year. But it's still probably my favorite athletic sport (baseball doesn't count, or I'd choose that) to play, if someone held a gun to my head and gave me no choice.
Coke cans, basketball, bottles, death, dinosaurs, drawing, knight, pizza, popcorn, scythe, sword.
movie: Rocky Horror Picture Show.
too much O.
1991.
Art by Laine.
... Readmy blog at ClintJCL.wordpress.com
Laine is my cousin (mom's sister Beth's daughter).
'Schematic' is the key-word for the new pieces Dragot proposes in his participation of the most recent edition of Onufri show in the Museum of Tirana. By 'schematic' ,one has to understand the essential outcome of an information, the reduction to the purest single element , the 'graphical' outlines of an image or the retransformation of the specific into a prototype form of decrypting in order to be more easily read by a larger group of people. More easily read and looked at or the way comics or cartoons function. Not only does Dragot turns his attention to a larger group of people by using the technique of cartoon but in this specific case to the most fragile part of it:the children. Dragot ,once again, deals with the daily information which reaches us in succeeding "waves" of images, good and bad news(preferably bad because it does better feed our voracious appetite for sensation and thriller-like kicks , camouflaged banalities or one-hour scandals which often tend to disappear before they really destroy reputations HYENA & RATS On the new work of Robert Aliaj DRAGOT A CERTAIN DEGREE OF FICTION. 'Schematic' is the key-word for the new pieces Dragot proposes in his participation of the most recent edition of Onufri show in the Museum of Tirana. By 'schematic' ,one has to understand the essential outcome of an information, the reduction to the purest single element , the 'graphical' outlines of an image or the retransformation of the specific into a prototype form of decrypting in order to be more easily read by a larger group of people. More easily read and looked at or the way comics or cartoons function. Not only does Dragot turns his attention to a larger group of people by using the technique of cartoon but in this specific case to the most fragile part of it:the children. Dragot ,once again, deals with the daily information which reaches us in succeeding "waves" of images, good and bad news(preferably bad because it does better feed our voracious appetite for sensation and thriller-like kicks , camouflaged banalities or one-hour scandals which often tend to disappear before they really destroy reputations . Media are the most powerful predators on our small planet and media travel at the speed of media.It has its own logic.The other thing with media is that it exists as data or pure information and that it doesn't make any distinction between 'good 'or 'bad' ingredients. Only the reader does put the ethical full stop here. And the reader has to be protected or needs a certain kind of immunity in order to surf beyond risk.Because surfing is risky business and that is probably part of the message the artist wants us to understand. Because this daily 'tsunami' or non-stop flow of information is larger than we ,as adults,can digest and one does not need to be introduced in contemporary human behavior to understand that copy-cat attitudes often lead to exponential dramas such as high school shootings or 'hidden' agendas for group suicides (as was the case in Japan a couple of years ago).The point is often children are badly hit by the wrong contents.They simply are incapable to de-contectextualize and put it in a rational perspective. Fragilised people pay a great deal of attention towards the slightest change in the media and are as such more easily exploited.We all were introduced in the subtle strategies sooner or later.Part of growing up.. The artist has been gradually selecting images from the web .Images (stills and cellular videoshots) depicting "indoor" violence .Images which were meant to be consulted and commented by the same sort of people that throw them on this insiders 'stage'. This information, because of its illigal and illicit content is often taken off the web (read censored) under governmental or corporate pressure.It could indeed lead to embarassing incidents between governments or stimulate massive crowds in the streets if well conducted. In this endless stream of visual data ,the artist has saved and selected on 'You Tube' a small series of brutal videostills where Greek policemen were forcing Roma or Albanian youngsters (2 young men) to hit each other in the face harder and harder, under the amused eyes of the servicemen which are supposed to represent the law and order of a respectable member of the European Union.The cellular shots make one think of the pop song and videopiece "True Faith" once realised by New Order in the 80's where in some sort of choreography people were hitting each other in the face..or less popular the performance "Rythm 0 1974"by Marina Abramovic where she assigned a passive role to herself, with the public being the force which would act on her and gradually use more and more violence against her, enjoying the kick of the forbidden.. The You Tube images Dragot luckily saved(before they were removed) were not intended as a popsong neither as an artistic performance but where filmed by policemen with their private cell-phones and shortly after flung on the internet as the worst taste trophies imaginable .These youngsters were publicly exposed in a merciless orgy of cruelty. Now the information is one thing, treating the information is another thing,treating the information in an intelligent and emotionally balanced artwork is a completely different mission. Dragot started to select the crude 'matter' or 'matière première'(found footage on the net) and to sculpt it socially and artistically in order to slide it in collective memory by a rather fresh and funny (read cynical) strategy.Turning them into cartoons.. Doing so ,he manages to expand the dialogue towards a larger group of society . He refuses to pinpoint the artwork as the next cheap sensational micro scandal in the over-and-done-with academy of shock.(dating form the period BC read "before Crisis"). He devoids the sequence of images (selected stills from the shock video posted) of any recognisable realistic detail and turns the reality into a certain degree of fiction:a cartoon which transposes the action on a different level.Thus the artist decides to vehiculise the information into this fragile target we call children . Children are confronted with violence to an up-to-now unknown degree (useless to draw the lifelong list of video-games,movies,ads,newsflashes not to forget the most subtle of all: reality and needless to say that heaps of books treat this rather spooky subject and discussion panels turn in circles circumventing the real topic:the measurable impact of violence on the mind of the exposed child). Here in the Tirana Museum Dragot has draw huge size stills in a cartoon-like sequence of 6 or 8 images , life size, that is to say the average size of a just-not-teenager . The drawnings (stills sequence) on the wall are emptied of their short historical dimension of a drama which happened in protected police quarters in some capital city (Dragot says" it could be anywhere" .The kids only find the black outlines. On the floor of the museum ,lots of little boxes of 'multi-talent pencil' or wax crayons in a predefined range of colours. The piece is a large sort of "colorbook" and the children have to color in the various segments of the drawings as shown in the pinned up example.. A couple of schoolclasses are invited in the afternoon to color on the walls of this museum, and in the evening ,the piece is shown to the larger public. Has the violence been hidden or substracted out of the raw material (you tube cellular phone videos) and softened in order to protect the children or is the ultimate goal of the art project to accustom the kids to little doses of violence and maybe rediscover the true content?And where is that true content? It seems that the freshly and "disney colored" drawings warn us seriously for the highly manipulated way in which encapsulated violence might reach us since all violence is not visual,but rather subtly merchandised and consumable even for the most innocent sweeny toddlers. Extremely important is the fact that the artist has not forgotten the origin of his found footage and in an adjacent space,the visitor is confronted by the rawness and brutality of the lift off images for the project.The adult side of the piece?The true content? The visitor indeed goes the other way round just as the salmon swims up the river and therefore the result is much harder to take in.Black and white becomes color and color becomes video. This wake-up is directed to the conscience of the adult and leaves him critically behind with it..vision and sound this time.. koen wastijn november 2009
This is a graphical picture of the math on the previous slide. Note that we can represent each position as an arrow going from the 0 point of our reference frame to the position we're interested in. Norman is the brown arrow in Oklahoma's reference frame but the blue arrow in Texas's frame. Davis is the green arrow according to Oklahoma but the orange arrow according to Texas. In either case though, the displacement, the actual miles between the two towns and the direction from Norman to Davis, is of course constant (the pink arrow.) Position is arbitrary depending on your reference frame, but all reference frames must agree on displacement.
'Schematic' is the key-word for the new pieces Dragot proposes in his participation of the most recent edition of Onufri show in the Museum of Tirana. By 'schematic' ,one has to understand the essential outcome of an information, the reduction to the purest single element , the 'graphical' outlines of an image or the retransformation of the specific into a prototype form of decrypting in order to be more easily read by a larger group of people. More easily read and looked at or the way comics or cartoons function. Not only does Dragot turns his attention to a larger group of people by using the technique of cartoon but in this specific case to the most fragile part of it:the children. Dragot ,once again, deals with the daily information which reaches us in succeeding "waves" of images, good and bad news(preferably bad because it does better feed our voracious appetite for sensation and thriller-like kicks , camouflaged banalities or one-hour scandals which often tend to disappear before they really destroy reputations HYENA & RATS On the new work of Robert Aliaj DRAGOT A CERTAIN DEGREE OF FICTION. 'Schematic' is the key-word for the new pieces Dragot proposes in his participation of the most recent edition of Onufri show in the Museum of Tirana. By 'schematic' ,one has to understand the essential outcome of an information, the reduction to the purest single element , the 'graphical' outlines of an image or the retransformation of the specific into a prototype form of decrypting in order to be more easily read by a larger group of people. More easily read and looked at or the way comics or cartoons function. Not only does Dragot turns his attention to a larger group of people by using the technique of cartoon but in this specific case to the most fragile part of it:the children. Dragot ,once again, deals with the daily information which reaches us in succeeding "waves" of images, good and bad news(preferably bad because it does better feed our voracious appetite for sensation and thriller-like kicks , camouflaged banalities or one-hour scandals which often tend to disappear before they really destroy reputations . Media are the most powerful predators on our small planet and media travel at the speed of media.It has its own logic.The other thing with media is that it exists as data or pure information and that it doesn't make any distinction between 'good 'or 'bad' ingredients. Only the reader does put the ethical full stop here. And the reader has to be protected or needs a certain kind of immunity in order to surf beyond risk.Because surfing is risky business and that is probably part of the message the artist wants us to understand. Because this daily 'tsunami' or non-stop flow of information is larger than we ,as adults,can digest and one does not need to be introduced in contemporary human behavior to understand that copy-cat attitudes often lead to exponential dramas such as high school shootings or 'hidden' agendas for group suicides (as was the case in Japan a couple of years ago).The point is often children are badly hit by the wrong contents.They simply are incapable to de-contectextualize and put it in a rational perspective. Fragilised people pay a great deal of attention towards the slightest change in the media and are as such more easily exploited.We all were introduced in the subtle strategies sooner or later.Part of growing up.. The artist has been gradually selecting images from the web .Images (stills and cellular videoshots) depicting "indoor" violence .Images which were meant to be consulted and commented by the same sort of people that throw them on this insiders 'stage'. This information, because of its illigal and illicit content is often taken off the web (read censored) under governmental or corporate pressure.It could indeed lead to embarassing incidents between governments or stimulate massive crowds in the streets if well conducted. In this endless stream of visual data ,the artist has saved and selected on 'You Tube' a small series of brutal videostills where Greek policemen were forcing Roma or Albanian youngsters (2 young men) to hit each other in the face harder and harder, under the amused eyes of the servicemen which are supposed to represent the law and order of a respectable member of the European Union.The cellular shots make one think of the pop song and videopiece "True Faith" once realised by New Order in the 80's where in some sort of choreography people were hitting each other in the face..or less popular the performance "Rythm 0 1974"by Marina Abramovic where she assigned a passive role to herself, with the public being the force which would act on her and gradually use more and more violence against her, enjoying the kick of the forbidden.. The You Tube images Dragot luckily saved(before they were removed) were not intended as a popsong neither as an artistic performance but where filmed by policemen with their private cell-phones and shortly after flung on the internet as the worst taste trophies imaginable .These youngsters were publicly exposed in a merciless orgy of cruelty. Now the information is one thing, treating the information is another thing,treating the information in an intelligent and emotionally balanced artwork is a completely different mission. Dragot started to select the crude 'matter' or 'matière première'(found footage on the net) and to sculpt it socially and artistically in order to slide it in collective memory by a rather fresh and funny (read cynical) strategy.Turning them into cartoons.. Doing so ,he manages to expand the dialogue towards a larger group of society . He refuses to pinpoint the artwork as the next cheap sensational micro scandal in the over-and-done-with academy of shock.(dating form the period BC read "before Crisis"). He devoids the sequence of images (selected stills from the shock video posted) of any recognisable realistic detail and turns the reality into a certain degree of fiction:a cartoon which transposes the action on a different level.Thus the artist decides to vehiculise the information into this fragile target we call children . Children are confronted with violence to an up-to-now unknown degree (useless to draw the lifelong list of video-games,movies,ads,newsflashes not to forget the most subtle of all: reality and needless to say that heaps of books treat this rather spooky subject and discussion panels turn in circles circumventing the real topic:the measurable impact of violence on the mind of the exposed child). Here in the Tirana Museum Dragot has draw huge size stills in a cartoon-like sequence of 6 or 8 images , life size, that is to say the average size of a just-not-teenager . The drawnings (stills sequence) on the wall are emptied of their short historical dimension of a drama which happened in protected police quarters in some capital city (Dragot says" it could be anywhere" .The kids only find the black outlines. On the floor of the museum ,lots of little boxes of 'multi-talent pencil' or wax crayons in a predefined range of colours. The piece is a large sort of "colorbook" and the children have to color in the various segments of the drawings as shown in the pinned up example.. A couple of schoolclasses are invited in the afternoon to color on the walls of this museum, and in the evening ,the piece is shown to the larger public. Has the violence been hidden or substracted out of the raw material (you tube cellular phone videos) and softened in order to protect the children or is the ultimate goal of the art project to accustom the kids to little doses of violence and maybe rediscover the true content?And where is that true content? It seems that the freshly and "disney colored" drawings warn us seriously for the highly manipulated way in which encapsulated violence might reach us since all violence is not visual,but rather subtly merchandised and consumable even for the most innocent sweeny toddlers. Extremely important is the fact that the artist has not forgotten the origin of his found footage and in an adjacent space,the visitor is confronted by the rawness and brutality of the lift off images for the project.The adult side of the piece?The true content? The visitor indeed goes the other way round just as the salmon swims up the river and therefore the result is much harder to take in.Black and white becomes color and color becomes video. This wake-up is directed to the conscience of the adult and leaves him critically behind with it..vision and sound this time.. koen wastijn november 2009
S74-18098 (1974) --- Graphical representation of an ultraviolet photograph depicting a solar flare, using the Skylab 4 Earth Observation Experiment equipment. Photo credit: NASA
Note: The entire six-page advertisement from which this photo has been abstracted can be seen in my "Personal Computing in the 1970s & 80s" (Set).
The day before last, I uploaded a picture of the Blue Screen of Death, which is a screen that is all too familiar to users of the Microsoft Windows Operating System. I mentioned in my narrative that the 25th anniversary of Windows will be observed later this year. Which got me to thinking about Windows 1.0.
I made a visit to my basement archives looking for examples of some of the early advertising Microsoft did for Windows. What I found was a six-page, glossy advertisement for Windows that appeared in the January, 1986 issue of Byte Magazine which, at that time, was the pre-eminent microcomputer publication.
Microsoft was a heavy advertiser in Byte, and this is the first Windows advertisement to appear in that magazine. I don't know whether this is the very first Microsoft Windows advertisement, but it is certainly one of the first. I've left the images full size so all six pages can be clear read when enlarged to full size.
The release of Microsoft Windows 1.0 did not receive the kind of attention associated with later Window's releases. I haven't found any flashy cover stories in the PC rags that immediately followed the release of Windows 1.0 in November, 1985. With the exception of Mac users, not everyone was sold yet on the benefits of a graphical user interface. And, on the Windows side of things, there weren't any killer apps. Actually, there were barely any Window's application other than those included by Microsoft with the installation disks (it came on floppy's).
The other thing to keep in mind is that the early versions of Windows were really nothing more than a graphical shell on top of the MS-DOS operating system. Look at the screen shots and you can see how primitive it all looked, especially when compared to the Macintosh which had nearly a two year head start. The windows could only be tiled against one another. There was no overlapping at all, and multitasking was available but limited.
I hope you enjoy this trip down old technology memory lane.
The St Trinians girls are back, and Rushes, in collaboration with Matt Curtis of Abraham pants, have come up with the goods in the graphics department yet again, throwing their hats further into the fray with not only opening titles but also providing light-hearted graphical transitions, and visual narratives throughout the film to keep up the pace of the latest installment of the franchise.
Using the first film as a reference, Matt Curtis approached Rushes’ MGFX producer Warwick Hewett with an idea that would require the whole of the MGFX department at full throttle for the whole month. “Matt always brings us good stuff to work on, He seems to be on the same creative wavelength as our Head Designer Matt Lawrence, which has proved to be a fruitful partnership in the past across various projects, this one being no exception”.
Rushes was asked to create several elements: An opening title sequence, a main title sting, 4 shot transitions, 5 still graphics and a lengthy, 4 part sequence playing on the Google earth application all referencing the plot line of buried treasure, whilst trying to incorporate a little of the St. T’s girl’s anarchy. The idea gradually developed, and became a coherent and evolving set of graphics which sits in neatly throughout the film; starting with the opening titles and moving through to the final shot transitions.
“Matt’s brief focused on map and map elements being revealed either through ink splats or using ink as some sort of graphical device. As we started to play around with ideas though, it became clear that to get a truly inky feel we would have to shoot real ink splats … I’m glad we did, the transitions, wipes and little inky touches really sell the piece, much more so than trying to fake it with mattes or fades.” Matt Lawrence (Lead MGFX Designer) “Using the shot textures, as well as real map elements really allowed us to go to town on the opening sequence, layering ink footage and map sections with supplied graphics and generated content creating a truly immersive sequence, the idea being to really draw the viewer into the scene, get them involved immediately, make them feel part of the story as soon as it started”
To make sure the work was completed on time and to the high standards Rushes, Matt Curtis and the MGFX team are known for, workflow management was very important. “We split the work up as best we could to ease the bottleneck. While Matt was animating sections, I would be texturing the elements for him to drop in later, then, as they became more fully developed I would move onto a different animation and set that up while Barry Corcoran, our MGFX freelancer started on yet another. Spreading the workload was advantageous to everyone, from the client down, as each section was able to move forward almost simultaneously whilst easing the pressure on any one individual as nothing lay squarely on any one person’s or more importantly one machine’s shoulders” says Brad Le Riche (MGFX Designer).
The end result is yet another successful partnership with Matt Curtis and another film title sequence under Rushes’ belt, with the MGFX boys really starting to carve an MGFX shaped notch in the grain of the title sequence market.
Title: "St. Trinian's - The Legend of Fritton's Gold"
Product: Feature Film Titles & Motion Graphics
Agency: Abraham Pants
Director: Barnaby Thompson & Oliver Parker
Producer: Christian Colson
Production Company: Celador Films
Designer: Matt Curtis
Post Facility: Rushes
Rushes Producer: Louise Hussey
Rushes Assistant Producer: Warwick Hewett
After Effects: Matt Lawrence (Lead),
Brad Le Riche, Barry Corcoran
Cinema 4D: Matt Lawrence
Photoshop: Matt Lawrence, Brad Le Riche