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In meiner Kindheit, die alte Ama, die Älteste meines Clans, während sie Samen sortiete oder [[anete]] gesponnen hat, hielt uns Kinder beschäftigt mit Hilfe einer großen Kiste aus [[motega]] in das wir Kinder uns einschlossen um unermüdlich die Bilder zu beobachten die auf dem Boden gezeichnet wurden von einer feinen Sonnenstrahl, die durch ein winziges in die Seite der Kiste durchgebohrtes Loch hindurch leuchtete. | In meiner Kindheit, die alte Ama, die Älteste meines Clans, während sie Samen sortiete oder [[anete]] gesponnen hat, hielt uns Kinder beschäftigt mit Hilfe einer großen Kiste aus [[motega]] in das wir Kinder uns einschlossen um unermüdlich die Bilder zu beobachten die auf dem Boden gezeichnet wurden von einer feinen Sonnenstrahl, die durch ein winziges in die Seite der Kiste durchgebohrtes Loch hindurch leuchtete. | ||
| − | + | Es war diese Erinnerung aus der Vergangenheit die ich mich wieder besann als ich die Gold und Purpur Farben des Sonnenuntergangs beobachte die sich im Wasser des Sees auflöste, wobei ich überlegte wie ich die in jener Kiste bestaunte Images festhalten könnte, um sie immer wieder anschauen zu können. | |
| − | Atys' | + | Atys' Crafter und besonders die Färber, alle wissen dass das Sonnenlicht vermag die von ihnen erstellten Farbstoffen zu altern und deren Farben zu modifizieren. Thus, the blue color so difficult to obtain but so beautiful and bright is at the origin, only a greenish bath not very engaging and it is necessary that the rays of the sun caress the dyed clothing so that this color is revealed. Similarly, all prospectors would have noticed that a vein of sap from [[silverweed]] left in the air and in the light quickly took on a dull and dark hue. One autumn day, I saw the perfect design of a bamboo leaf that the wind had driven away on a puddle of sap bathed in sunlight, printed in the smallest detail of its veins and serrations, then gradually faded away. |
I have carried out many tests, often unsuccessful or which have only allowed me to obtain vague, blurred and ephemeral shapes. I used the wood, the bark, the amber that my pickaxe allowed me to obtain in abundance. In vain. So I turned to our hunters and managed to get good wing samples from [[kizoar]]. Under the horny elytra, we find the wing itself, excellent for its padding parry properties, but whose interest for me was mainly in its transparency and hardness after drying. | I have carried out many tests, often unsuccessful or which have only allowed me to obtain vague, blurred and ephemeral shapes. I used the wood, the bark, the amber that my pickaxe allowed me to obtain in abundance. In vain. So I turned to our hunters and managed to get good wing samples from [[kizoar]]. Under the horny elytra, we find the wing itself, excellent for its padding parry properties, but whose interest for me was mainly in its transparency and hardness after drying. | ||
Version vom 22. Juli 2019, 09:42 Uhr
 Übersetzungs Status → Dies ist eine von 35 Seiten, die wir gerne ins Deutsche übersetzt sehen würden.
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 Übersetzung angefordert •  Translated •  Traducción requerida •  Original •  Запрошенный перевод
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- Luciography: "name"; Image capture technique invented by Paera Ama Din Covee allowing to capture in an almost instantaneous and in color everything that the homin sees in almost any situation. The discovery was published in a 2525 AJ article in "la Nouvelle Feuille d'Atys" ("the New Atys Sheet"), one of the first newspapers of the Bark. The images resulting from this technique are called "Luciograms", or just "Lucios". The "luciographic apparatus", or "firefly box" is called «luciograph».
- Luciogram or just Lucio : name;by the images resulting from luciographical techniques, invented by Paera Ama Din Covee in 2525 AJ. Fireworks are made exclusively from Atys' organic materials, in an environmentally friendly and "magic-free" way.
- Luciograph : name; the device used to make lucios (luciograms).
- "Luciographic, Luciographical : adjective"; related to Luciography.
Images of Atys - "From engraving to luciogram"
by Paera Ama Din Covee, in "La nouvelle feuille d'Atys", Quarta, Harvestor 16, 3e CA 2525
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Für eine lange Zeit war Eingravieren die einzige verfügbare Technik, mit der ein Image von größter Realismus und feinem Detail erstellt werden könnte. Viele dieser Eingravierungen, geduldig von Hand colouriert, illustrieren die Columne dieses Journals. Aber Eingravieren bleibt eine Kunst Art, die viel Zeit beansprucht und die sich nicht eignet, um die Schönheit eines Moments einzufangen. Es war beim Betrachten der schnell wandelnden Farben eines Sonnenuntergangs auf der Oberfläche des Wassers um Fairhaven dass ich die Idee des luciogram ersann.In meiner Kindheit, die alte Ama, die Älteste meines Clans, während sie Samen sortiete oder anete gesponnen hat, hielt uns Kinder beschäftigt mit Hilfe einer großen Kiste aus motega in das wir Kinder uns einschlossen um unermüdlich die Bilder zu beobachten die auf dem Boden gezeichnet wurden von einer feinen Sonnenstrahl, die durch ein winziges in die Seite der Kiste durchgebohrtes Loch hindurch leuchtete.
Es war diese Erinnerung aus der Vergangenheit die ich mich wieder besann als ich die Gold und Purpur Farben des Sonnenuntergangs beobachte die sich im Wasser des Sees auflöste, wobei ich überlegte wie ich die in jener Kiste bestaunte Images festhalten könnte, um sie immer wieder anschauen zu können.
Atys' Crafter und besonders die Färber, alle wissen dass das Sonnenlicht vermag die von ihnen erstellten Farbstoffen zu altern und deren Farben zu modifizieren. Thus, the blue color so difficult to obtain but so beautiful and bright is at the origin, only a greenish bath not very engaging and it is necessary that the rays of the sun caress the dyed clothing so that this color is revealed. Similarly, all prospectors would have noticed that a vein of sap from silverweed left in the air and in the light quickly took on a dull and dark hue. One autumn day, I saw the perfect design of a bamboo leaf that the wind had driven away on a puddle of sap bathed in sunlight, printed in the smallest detail of its veins and serrations, then gradually faded away.
I have carried out many tests, often unsuccessful or which have only allowed me to obtain vague, blurred and ephemeral shapes. I used the wood, the bark, the amber that my pickaxe allowed me to obtain in abundance. In vain. So I turned to our hunters and managed to get good wing samples from kizoar. Under the horny elytra, we find the wing itself, excellent for its padding parry properties, but whose interest for me was mainly in its transparency and hardness after drying.
On a plate cut out of the wing of kizoar, I spread a mixture of egg white Izam and glue resin, then I plunge it into a silverweed bath. The mixture of egg white and resin allows the sap to adhere to the transparent wing. Once the excess sap has been washed and the plate dried, it can be used to fix an image. Placed at the bottom of a kachine box (lighter and easier to handle than the heavy motega of my childhood), the plate is exposed to light via an orifice that can be closed at its convenience. After a few minutes, the perfect image was printed on the sap. Several baths of warm silverweed with other saps and a little kitin ichor allow it to be revealed and fixed.
One of my first attempts with this technique allowed me to obtain this very beautiful image of the embassy building in Fairhaven, taken from Lower Chamber Avenue:
one of the first Luciograms (2525 AJ, the oldest currently preserved)So I had managed to capture and preserve the image. So I tackled the problem of colour. For a while, I took over the engravers' techniques and coloured my images by hand. But what I knew about tints and pigments properties made me think that there had to be a way to capture the colours' beauty as well. It was simply a matter of finding a way to insert the pigments into the light-sensitive layer of the kizoar wing fragment. A mixture of stinga root slurry and pigments arranged in several monochrome layers proved to be the most reliable and luminous process. Silverweed sap exposed to light reacts more or less strongly, in the process described above this made it possible to obtain grayscales. With this new system, the sap layer fixed by the egg and resin allows, more or less, light to pass through to the red-, blue-, yellow- and green-colored layers of stinga root . The result accurately reflects the external colours, provided that the pigmented layers have been carefully prepared.
The same embassy building, as seen from the balcony of the Council Chamber, obtained by this process.
But all this could only work in the light of the sun, and even when it shines brightly. Also, inspired by trycker street lighting, which exploits the natural and so warm luminosity of the fireflies, abundant on our land, I developed a new shape of my camera to capture images and colours, which I called luciograph or firefly box[1]. Fireflies enclosed in a special compartment of the kachine box can be discovered in order to project their light onto the subject whose image is to be captured. Their brightness and warm hues give these luciograms, as I call these new images, a special tone that drove me to use this system even in bright daylight.
The first nocturnal luciogram: the totem pole of Lakenisle.
Paera Ama Din Covee, in "La nouvelle feuille d'Atys", Quarta, Harvestor 16, 3e CA 2525
Notes
- ↑ Firefly is Luciole in French
The above text comes directly from the site: http://www.lanouvellefeuille.info, currently closed. It is still archived, but for how long? Writing down, the explanations here seems important to me, for the knowledge preservation. Paera
- Web archive: https://web.archive.org/web/20070221065745/http://www.lanouvellefeuille.info/article.php?id_article=184 ; November 12, 2004
