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Search results - "print," |
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KadathOne could call it “painting with filters and similar digital means”, which is quite different from “applying filters” in the way those filters should be used or to mimic “natural media”. And I have used dozens of layers, some inverted this time. A lot of what I am doing makes zero sense in terms what the tools I use were designed for, like using sharpening and softening filters one after another a dozen times and so forth. If an image like that is finished I have used so many filters, so many times and combined so many layers of stuff that’s more than unlikely, that there is no way to recall and I don’t want to. And I like to make things deceptive, so it may look like a certain filter being used, but if one would try to copy, they will soon know better. The only purpose for me in making an image is the image and I like to make unique ones, by what means so ever.
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SarnathOne could call it “painting with filters and similar digital means”, which is quite different from “applying filters” in the way those filters should be used or to mimic “natural media”. And I have used dozens of layers, some inverted this time. A lot of what I am doing makes zero sense in terms what the tools I use were designed for, like using sharpening and softening filters one after another a dozen times and so forth. If an image like that is finished I have used so many filters, so many times and combined so many layers of stuff that’s more than unlikely, that there is no way to recall and I don’t want to. And I like to make things deceptive, so it may look like a certain filter being used, but if one would try to copy, they will soon know better. The only purpose for me in making an image is the image and I like to make unique ones, by what means so ever.
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Tekeli-liOne could call it “painting with filters and similar digital means”, which is quite different from “applying filters” in the way those filters should be used or to mimic “natural media”. And I have used dozens of layers, some inverted this time. A lot of what I am doing makes zero sense in terms what the tools I use were designed for, like using sharpening and softening filters one after another a dozen times and so forth. If an image like that is finished I have used so many filters, so many times and combined so many layers of stuff that’s more than unlikely, that there is no way to recall and I don’t want to. And I like to make things deceptive, so it may look like a certain filter being used, but if one would try to copy, they will soon know better. The only purpose for me in making an image is the image and I like to make unique ones, by what means so ever.
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NanoFlower 1Inspired by the title and the shapes of the original I used Photoshop to overlay an image of an orchid drawing and then added colors of my choice.
I have been fascinated by this amazing technology and have been reading about it since 1986. It’s mind blowing to be able to now look into the secrets of matter at this intimate level. I am anxiously awaiting the possibility of seeing these images in color, once that technology becomes available.
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NanoFlower 2Inspired by the title and the shapes of the original I used Photoshop to overlay an image of a magnolia photo and then painted the petals in imaginary colors.
I have been fascinated by this amazing technology and have been reading about it since 1986. It’s mind blowing to be able to now look into the secrets of matter at this intimate level. I am anxiously awaiting the possibility of seeing these images in color, once that technology becomes available.
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NanoFaceI used Photoshop to layer an image of a face over the image “Micro & Nano”and then painted in the warm and cool colors.
I have been fascinated by this amazing technology and have been reading about it since 1986. It’s mind blowing to be able to now look into the secrets of matter at this intimate level. I am anxiously awaiting the possibility of seeing these images in color, once that technology becomes available.
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White Lines / Black LightSEM image of polymer templated using water breath figures. A solution of polystyrene in dichloromethane evaporates thus cooling and water condenses from the atmosphere onto the solution. The water forms droplets of very homogeneous size (~200nm), which form a hexagonally-packed template for precipitation of the polystyrene. Processed in Adobe Photoshop CS 2 using edge finding/glow edges.
NanoArt is a usefull way of promoting science to the public through media such as shows. People who are intereted in art might become interested in nanotechnology if an accessible entry point could be made for them.
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Nanotactility Series - Ice FlowerThe theme of this series is tangibility/intangibility. Although the nanoscale is a part of everything around us, it is almost always portrayed as a space that is intangible, due to the fact that our senses are inadequate to perceive the goings-on at that level of life. At the same time, new forms of microscopy are rendering images from this space that feature objects and textures that evoke the desire for touch.
With ‘Nanotactility’ therefore I tried to engage with this space in a tactile way, recreating the seed images at ‘our scale’ with materials I thought they resembled – materials that are at once tangible, but also of such a fragile, mutable nature that they cannot be touched without being altered in their shape (ash, ice, and thin warm wax). The macroscale reconstructions of the images were then captured by digital and non-digital camera and superimposed over the nanoscale images, to symbolise that one ‘scale’ is inherent in the other.
The merging is not complete, however, so that elements of each image are visible. Although the different scales really are one, they are not generally perceived to be so, but if we look around us, we can perceive effects that occur on the basis of changes on the nano or micro scale, such as mutations or the properties of ‘nano’ products. Similarly, the activity at that scale is invisible to us. I view the seed images not as representations of matter as it ‘really is’, but as momentary maps of the busy creation of and by matter, and through my capturing of temporary ‘macro’ landscapes and their reworking and recombining with the seed ‘maps’ I am trying to amplify this process.
The resulting images are also highly texturised. You can imagine them being made of ‘real’ materials, you can imagine touching them. They resemble a cover of barnacles, moss, wet leaves or shards, but they also have an inviting ‘alienness’ about them that appeals to our (sensual) curiosity and imagination.
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Heart of all MatterInspired by the original I used Photoshop to add layers of shapes and colors.
I have been fascinated by this amazing technology and have been reading about it since 1986. It’s mind blowing to be able to now look into the secrets of matter at this intimate level. I am anxiously awaiting the possibility of seeing these images in color, once that technology becomes available.
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SceyenceFirst I took the image from the NanoArt site and began manipulating it on Photoshop using various drawings for material for the piece. This work is made with the idea that the viewer, the scientist who look into the world with such scrutiny is being watched back.
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Yaddith 1One could call it “painting with filters and similar digital means”, which is quite different from “applying filters” in the way those filters should be used or to mimic “natural media”. And I have used dozens of layers, some inverted this time. A lot of what I am doing makes zero sense in terms what the tools I use were designed for, like using sharpening and softening filters one after another a dozen times and so forth. If an image like that is finished I have used so many filters, so many times and combined so many layers of stuff that’s more than unlikely, that there is no way to recall and I don’t want to. And I like to make things deceptive, so it may look like a certain filter being used, but if one would try to copy, they will soon know better. The only purpose for me in making an image is the image and I like to make unique ones, by what means so ever.
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Yaddith 2One could call it “painting with filters and similar digital means”, which is quite different from “applying filters” in the way those filters should be used or to mimic “natural media”. And I have used dozens of layers, some inverted this time. A lot of what I am doing makes zero sense in terms what the tools I use were designed for, like using sharpening and softening filters one after another a dozen times and so forth. If an image like that is finished I have used so many filters, so many times and combined so many layers of stuff that’s more than unlikely, that there is no way to recall and I don’t want to. And I like to make things deceptive, so it may look like a certain filter being used, but if one would try to copy, they will soon know better. The only purpose for me in making an image is the image and I like to make unique ones, by what means so ever.
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