![]() Precious objects (a linen glove, a blue-glass headrest, gold and silver staffs) demonstrate the sophistication of ancient Egyptian taste and craftsmanship, while exotic imports from distant lands (ebony and ivory from Nubia, and a jewel of Libyan Desert glass – formed by an ancient meteorite strike) show the range of Egypt’s trading and diplomatic networks. ![]() Practical tools (a scribal palette, cubit rod, and chisels) were buried side by side with weapons (bows and arrows, fighting sticks, scimitars, leather scale armour, and the king’s prized chariots). There are poignant objects with personal, family resonance (the king’s mummified, stillborn children, and a lock of his grandmother’s hair) food and drink for the next world (chickpeas and lentils, joints of meat, a basket of dates, vintage wine from the royal vineyards). They range from the mundane (the boy-king’s loincloth, shaving equipment, and first-aid kit) to the highly symbolic (his leopard-skin cloak, wooden paddles to row him to the afterlife, and a ritual torch shaped like the hieroglyph for ‘life’). In total, the grave goods interred with Tutankhamun numbered more than 5,000 separate objects. What Carter and Carnarvon had discovered was, in every sense, a treasure trove, a hoard of precious objects fit for a king. When Carnarvon, unable to bear the suspense any longer, asked: ‘Can you see anything?’ Carter’s now-famous reply came back: ‘Yes, yes, wonderful things.’ Peering into the darkness with a lighted candle, Carter could not believe his eyes. Eventually, just after 4 o’clock in the afternoon of 26 November, the archaeologist and the aristocrat gained access to the royal tomb itself. Congratulations.’ When Carnarvon arrived in Luxor 17 days later, he and Carter proceeded to clear the blocking wall and the corridor beyond. ![]() Carter immediately sent a telegram to Carnarvon, who was some 2,500 miles away at his stately home in southern England: ‘At last have made wonderful discovery in Valley. This was the moment for which the British archaeologist Howard Carter, director of the expedition, and his patron Lord Carnarvon – or, more accurately, their hundreds of Egyptian workers – had been toiling for 15 long years in the heat and dust of Egypt. Two days later, clearance revealed a descending staircase, terminating at a rubble wall that blocked further access. Early in the morning of 4 November 1922, in the Valley of the Kings, Egyptian workers uncovered a step cut into the valley floor.
0 Comments
![]() Yet the resulting prints are playful, prompting creative interpretation from viewers whether or not they understand the linguistic underpinnings. Hulsey’s process may sound intimidating, and her subject matter esoteric. Just as syntax connects the words in Bachelard’s writing, rooms are linked in electrical wiring diagrams and blueprints. To show the syntactical relationships in the excerpt, Hulsey uses imagery gleaned from the 32-volume Sanborn Fire Insurance Atlas of Philadelphia of 1916, which collects grid plans of all the city’s blocks, color-coded by building material, updated by hand over the years. ![]() It diagrams a paragraph from French philosopher Gaston Bachelard’s treatise The Poetics of Space, a work that considershow people inhabit physical spaces, and how that affects their experiences and memories. Her recent work The Space of Poetics is an artist’s book (a handmade art object, one of a kind or printed in small editions) made with woodcut and letterpress. Finally, she depicts her linguistic analyses in the same visual vein as the original diagram-in this series, by using intaglio printing (in which an image is etched onto a plate and the incision holds the ink)in the fashion of the star charts, which map constellations, that appear in the books. She then examines an accompanying text to figure out how its language follows rules and exhibits patterns, whether of word frequency, pitch of sound, or lexical relations. Her creative process has three parts: “There’s the aesthetic, visual place where it starts, and then the conceptual part of it is largely analytical, and then there’s the manual, craft production of it.” Typically, she begins with a visual inspiration, like a star chart, that guides the graphic identity or overarching style of the piece. from the University of the Arts (in Philadelphia) later, she has left the world of academic linguistics but still works in the same studio, pursuing her intellectual interests through artistic practice.Ĭurrently, Hulsey is mapping the words in seventeenth-century astronomy books brought to her attention by a curator at the Huntington Library in Los Angeles. in linguistics at MIT, she kept a studio in nearby Somerville to pursue her hobby. After graduation, she attended workshops and courses on letterpress printing, papermaking, and bookbinding. ![]() A linguistics concentrator at Harvard, she worked at the Fogg Art Museum as an art handler under print curator Marjorie Cohn, took a screen-printing class, and learned letterpress at Bow and Arrow Press in Adams House. When she first pursued printmaking, Hulsey considered it a side interest, completely separate from her academic studies. Language, she explains, “is this really elaborate structure that speakers are, for all intents and purposes, totally unaware of”-and her work explores the subtle intricacies that make speech make sense. By appropriating the visual style of diagrams, maps, and charts, Hulsey’s pieces marry the craft and rigor of conceptual art with the graphic pop of information design, to edge toward fresh takes on communication itself. Likewise, movable type on a letterpress must be arranged in a particular manner books are structured into groupings of lines, pages, chapters, volumes, editions, and series. Language is composed of parts that fit together in a particular manner: words are ordered in certain ways to form sentences roots, prefixes, and suffixes fit together to form words. The systems and components that make up language and art draw her to both disciplines. Instead, her vocabulary stems from linguistics itself. “I don’t fully speak the same language as people who are more scholarly in the art world,” she says. Hulsey can detail the concepts behind her artwork, but she struggles to describe its aesthetics. Recent sources of inspiration include audio recordings of ocean floor maps and Copernicus’s drawings of heliocentric solar systems: diagrams, charts, and objects she describes as “really gorgeous, graphical things, apart from whatever they’re conveying.” The same could be said of Hulsey’s own pieces-but knowing what information they convey, and her meticulous intellectual approach, makes them all the more captivating. Hulsey’s graphic images are characterized by a sense of careful handicraft: boxes may not be perfect squares, but they are aligned. Though the visuals may be mystifying at first, patterns start to emerge, reminiscent of familiar objects: road maps, line graphs, or the periodic table of elements. It’s not prose, nor is it poetry, and its presence can be confusing. Nearly every piece-each screen print, relief print, etching, or artist’s book-features letterpress text of some kind. Despite its muted color palettes and simple shapes and lines, the art of Sarah Hulsey ’01 has a lot to say. ![]() Since1993 television shows using LightWave 3D® have been winning Prime Time Emmy® Awards for Visual Effects. Capabilities such as UV tools, bone systems with weight maps, integrated vertex map painting, motion and texture baking, and more, make game development much easier and faster. LightWave 3D’s Modeler has long held the title as the world’s best polygonal modeler game developers find this a major weapon in creating efficient, yet great-looking, models for fast, exciting game-play. Take some time to explore this site, check the links, tutorials, user profiles and forums and you'll see why so many people rely upon LightWave to get their work done on time and on budget. No matter what time of day or night, no matter where in the world you are located, there are LightWave users on-line ready and willing to answer questions, critique your work, share tips and tricks or just shoot the breeze. No 3D software in the industry is easier or more productive, and no other 3D application has a built-in renderer as fast and beautiful.Īs a LightWave® user, you'll find that you have access to hundreds, if not thousands, of resources to help you learn, create and do your job. Buttons are plainly labeled with the names of the tools so you know what they do instantly, not with cryptic icons that take months to decipher and memorize. They are set in an interface that you can customize to your needs, so the tools you use most are right where you want them. LightWave’s tools are designed for fast productivity and easy, intuitive use. With an extremely affordable price point and no additional costs for minor patches, technical support or can't live without plug-ins, LightWave gives you everything you need right out of the box. LightWave 3D® is the most complete, easy to learn and easy to use 3D animation package on the market. No matter who you are, from student to Hollywood visual effects superstar, if you are interested in 3D graphics you have come to the right place. Soft-body dynamics, particles, hair and fur, plus unlimited render nodes, to name a few LightWave 3D® ships with all the tools an artist needs to create. A full, robust program, LightWave 3D® includes many of the tools that other packages require to be purchased separately. Proven for years in television, film, and games, LightWave 3D® is also being used to create graphics for print, web, industrial design, architecture, medical imaging, and anywhere else a 3D package is needed. LightWave 3D® is versatile enough to make the transition to and from all kinds of projects. Polygonize Mixed - Will use the guides on a surface object to make new mixed mesh object with guides attached to the mesh.Model DetailsOff the shelf, LightWave 3D® is the most complete and flexible software solution for 3D graphics and animation.Billboard - makes crossed polygons suitable for mapping.Triangles - make triangles instead of quads.Sides - 1-sided is a single poly chain 2-sided is flat with polys on each side >2 is an extrusion of n sides.Choosing this option brings up the following interface: Polygonize - Creates a polygon mesh of your hair style.Reset Default - Puts the default back to the medium-length brown hair style.Save as Default - Saves the current style as the default for FiberFX from now on.As an example, you make a short white undercoat and the another layer of sparse long guard hairs over them. Clone - Creates a new instance of the object on which the parameters can be changed.If you right click on an object you will be presented with a dropdown menu like so: If an object has a single surface you won't see the red checkmark, it will automatically be white. The checkmarks indicate which surfaces have hair and the red checkmark shows that while FiberFX has been activated for an object, the surface has not been chosen. The listview to the left of the panel shows FiberFX-bearing surfaces to make it easier to see at a glance which surfaces have hair and which do not. ![]() ![]() In 2018, all surfacing is done in the Surface Editor with the Hair material and the FiberInfo node. In previous versions of FiberFX, there was an Edit Nodes button. ![]() Paste - Pastes all copied FiberFX settings.Copy - Copies all FiberFX settings from an object.Alternatively, you can double-click the entry in the list.ĭeactivate - To remove FiberFX from an object click this button.Įdit - This brings up a menu with four options: The Information line will tell you how many fibers you have in your scene.Īctivate - To add FiberFX to an object, select it in the list on the left and click the Activate button. Fibers using Solid Volume mode can be textured with nodes, and FiberFX contributes to alpha channels for all render modes. FiberFX is LightWave’s native hair and fur system. ![]() Some preferences are also available for customization. The composition panel allows some final touches to the pictures, giving you the chance to make the picture background transparent, or create a unique background that can be customized by you with a texture of your choice. This is a very nice feature, since most of the pictures nowadays don't have that texturization, and some of them aren't that great without it. You can also texturize the picture from the materials panel. You can also add a frame to the picture.Īs all the other effects, this is optional, but some people may like it, since frames give pictures a nice, warm look. These effects are nice if you want your photo to also have a unique style. ![]() The surface menu will allow you to further edit the photo, by adding scratches and darkening various sides and corners of it. This is great, especially if you try to imitate the nuances and colors of ancient times and seek to give your picture a cool and interesting look. You must select a photo, with any visual quality that will be used as the main photo for editing.Īfter that, you can access the color drop-down menu, where you can convert the photo to monochrome, give it a nice sepia effect, or a retro color magazine effect. The menus and the steps to employ it are pretty intuitive. PhotoStyler is simple, and does not need any previous photo-editing experience to be used. Another good thing is that most of the actions can be done quickly, and the program gives you a lot of customization, right from the main interface. It allows you to see the photo as well as you can, without hiding it under a lot of toolbars and menus. In other words, this kind of interface is the one that you may embrace when using a photo-editing piece of software for the first time. The interface is easy to use, and the buttons, when pressed, allow access to a drop-down menu where you can select or deselect the available functions. PhotoStyler will give you a unique look at the picture, by allowing you to edit it in the way that suits your needs. The main features of PhotoStyler are available as buttons, located near the image that you are editing. PhotoStyler is pretty easy to use, because most of the interface is blank, allowing you to view the picture you are currently editing in the best way you can. ![]() PhotoStyler is a light, quick and simple photo enhancer designed to make digital photos look like analog style pictures, old, tattered sepia images with scratches, 30’s-like ones, and incredibly popular Polaroid pictures. There are some software products that do just the same thing, and PhotoStyler is one of them. However, when we entered the digital age, photo-enhancing software quickly appeared, so that people could easily edit the pictures in any way they wanted, giving them a unique and personal touch, and enhancing them in the way they needed.Īlthough digital cameras are great, and take nice photos, some people do miss the pictures made by the retro, analog cameras. Since it appeared, photography has become more than a tool, it has become the means to remember nice memories from the past days, and see the past in a nice and unique manner. They take pleasure in taking photos of places, other individuals, or unusual events in their lives. It is a known fact that people like taking photos of almost everything they encounter. ![]() And at the same time, the secured VPN services will also protect you from trackers and hackers who’re trying to target your activities. This is because the service will allow you to easily stay undetected online, thus, you’ll find yourself being able to access whichever blocked websites or services with ease. Either of which, you’ll often find yourself only being able to access a small portion of the online content.Īnd most of the time, Internet users will use the VPN (Virtual Private Network) to allow themselves to access the uncensored Internet. Most Internet providers tend to block access of their users to certain websites or online services, due to government regulations or because of geo-restricted content. Now, you’ll be able to uncover the hidden content on the Internet, and at the same time, have yourself well-protected while going online.įind out more about the awesome in-app experiences of Windscribe VPN with our complete reviews. Have access to the fully uncensored Internet for the first time and find yourself introduced to the vast online content that you’ve never seen before. And among the best names, you can always find Windscribe VPN being a great mobile app that you can make full uses of.įeel free to connect and enjoy the in-app experiences as you turn up your VPN services in Windscribe. To further protect yourself while you’re online and allow you to access the blocked content on the Internet, it’s always nice for Android users to have a powerful VPN app installed on their mobile devices. Have the full app for free on our website.Enjoy lengthen usage with optimized battery.Protect yourself while using the Internet.Simple and accessible VPN app for mobile users. |