From EncyclopAtys
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*"Luciography": "name"; Image capture technique invented by [[Paera|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 ''"[[:fr:la Nouvelle Feuille d'Atys|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»''. | *"Luciography": "name"; Image capture technique invented by [[Paera|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 ''"[[:fr:la Nouvelle Feuille d'Atys|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|Paera Ama Din Covee]] in 2525 AJ. Fireworks are made exclusively from Atys' organic materials, in an environmentally friendly and "magic-free" way. | + | **'''Luciogram''' or just '''Lucio''' : ''name'';by the images resulting from luciographical techniques, invented by [[Paera|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). | **'''Luciograph''' : ''name''; the device used to make lucios (luciograms). | ||
**"Luciographic'', Luciographical : ''adjective"; related to Luciography. | **"Luciographic'', Luciographical : ''adjective"; related to Luciography. | ||
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| − | {{Quotation|[[Paera|Paera Ama Din Covee]], ''in "La nouvelle feuille d'Atys", Quarta, Harvestor 16, 3e CA 2525''| | + | {{Quotation| [[Paera|Paera Ama Din Covee]], ''in "La nouvelle feuille d'Atys", Quarta, Harvestor 16, 3e CA 2525''| |
For a long time, engraving was the only technique used to reproduce images of great realism and finesse. Many of these engravings, patiently hand-coloured, illustrate the columns of this journal. But engraving remains an art that takes time and is not adapted to capture the beauty of the moment. It was while contemplating the fleeting colours of a sunset on the waters of Fairhaven that I came up with the idea of the [[Lucio|luciogram]]. | For a long time, engraving was the only technique used to reproduce images of great realism and finesse. Many of these engravings, patiently hand-coloured, illustrate the columns of this journal. But engraving remains an art that takes time and is not adapted to capture the beauty of the moment. It was while contemplating the fleeting colours of a sunset on the waters of Fairhaven that I came up with the idea of the [[Lucio|luciogram]]. | ||
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Atys' craftsmen and more particularly the dyers, all know that sunlight can alter and modify the colours of their dyes. 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. | Atys' craftsmen and more particularly the dyers, all know that sunlight can alter and modify the colours of their dyes. 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. |
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. | 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. | ||
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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 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: | ||
| − | [[File:Lucio1.jpg|512px| | + | [[File:Lucio1.jpg|512px|frame|center|one of the first Luciograms (2525 AJ, the oldest currently preserved)]] |
| − | }} <big>'''———END OF TRANSLATION———'''</big> | + | }} |
| + | <big>'''———END OF TRANSLATION———'''</big> | ||
J’avais donc réussi à saisir et à conserver l’image. Je me suis donc attelée au problème de la couleur. Pendant un temps, j’ai repris les techniques des graveurs et j’ai coloré mes images à la main. Mais ce que je savais des teintures et des propriétés des pigments me laissait croire qu’il devait y avoir moyen de capturer aussi la beauté des couleurs. Il fallait simplement trouver le moyen d’insérer les pigments dans la couche sensible à la lumière du fragment d’aile de kizoar. Un mélange d’une bouillie de racine de [[stinga]] et de pigments disposé en plusieurs couches monochromes s’avéra être le procédé le plus fiable et celui permettant le rendu le plus lumineux. La sève de silverweed exposée à la lumière réagit plus ou moins fortement, dans le procédé décrit précédemment cela permettait d’obtenir des dégradés de gris. Avec ce nouveau système, la couche de sève fixée par l’œuf et la résine laissent plus ou moins passer la lumière jusqu’aux strates de racine de stinga colorées en rouge, bleu, jaune et vert. Le résultat rend fidèlement compte des couleurs extérieures, pour peu que les couches pigmentées aient été préparées avec soin. | J’avais donc réussi à saisir et à conserver l’image. Je me suis donc attelée au problème de la couleur. Pendant un temps, j’ai repris les techniques des graveurs et j’ai coloré mes images à la main. Mais ce que je savais des teintures et des propriétés des pigments me laissait croire qu’il devait y avoir moyen de capturer aussi la beauté des couleurs. Il fallait simplement trouver le moyen d’insérer les pigments dans la couche sensible à la lumière du fragment d’aile de kizoar. Un mélange d’une bouillie de racine de [[stinga]] et de pigments disposé en plusieurs couches monochromes s’avéra être le procédé le plus fiable et celui permettant le rendu le plus lumineux. La sève de silverweed exposée à la lumière réagit plus ou moins fortement, dans le procédé décrit précédemment cela permettait d’obtenir des dégradés de gris. Avec ce nouveau système, la couche de sève fixée par l’œuf et la résine laissent plus ou moins passer la lumière jusqu’aux strates de racine de stinga colorées en rouge, bleu, jaune et vert. Le résultat rend fidèlement compte des couleurs extérieures, pour peu que les couches pigmentées aient été préparées avec soin. | ||
<!-- Emplacement (centre) original du Lucio2 --> | <!-- Emplacement (centre) original du Lucio2 --> | ||
| − | [[ | + | [[File:Lucio2.jpg|512px|frame|center|Le même bâtiment des ambassades, vu du balcon de la Chambre du Conseil, obtenu par ce procédé.]]<br /><br /> |
{{clear}} | {{clear}} | ||
Seulement, tout ceci ne pouvait fonctionner qu’à la lumière du soleil, et encore quand celui-ci brille ardemment. Aussi, m’inspirant de l’éclairage public trycker, qui exploite la luminosité naturelle et si chaude des lucioles, abondantes sur nos terres, j’ai développé une nouvelle forme de mon appareil à capturer les images et les couleurs, que j’ai appelé [[luciographe]] ou [[boîte à lucioles]]. Les lucioles enfermées dans un compartiment spécial du coffret de kachine peuvent être découvertes de manière à projeter leur lumière sur le sujet dont on veut capturer l’image. Leur éclat tout en nuances chaudes donne à ces [[Lucio|luciogrammes]], ainsi que j’appelle ces nouvelles images, une tonalité particulière qui m’a poussée à utiliser ce système même en plein jour.<br /> | Seulement, tout ceci ne pouvait fonctionner qu’à la lumière du soleil, et encore quand celui-ci brille ardemment. Aussi, m’inspirant de l’éclairage public trycker, qui exploite la luminosité naturelle et si chaude des lucioles, abondantes sur nos terres, j’ai développé une nouvelle forme de mon appareil à capturer les images et les couleurs, que j’ai appelé [[luciographe]] ou [[boîte à lucioles]]. Les lucioles enfermées dans un compartiment spécial du coffret de kachine peuvent être découvertes de manière à projeter leur lumière sur le sujet dont on veut capturer l’image. Leur éclat tout en nuances chaudes donne à ces [[Lucio|luciogrammes]], ainsi que j’appelle ces nouvelles images, une tonalité particulière qui m’a poussée à utiliser ce système même en plein jour.<br /> | ||
| − | [[ | + | [[File:Lucio3.jpg|500px|frame|center|Le premier luciogramme nocturne, le totem du lac de l’île.]]<br />{{clear}} |
| − | }} | + | <nowiki>}}</nowiki> |
<br /> | <br /> | ||
<br /> | <br /> | ||
Revision as of 04:48, 15 July 2019
 Translation Status → This page is one of the 25 we would like to see translated into English.
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 Unübersetzt •  Translation in progress •  No traducido •  Original •  Не переведено
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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
“
For a long time, engraving was the only technique used to reproduce images of great realism and finesse. Many of these engravings, patiently hand-coloured, illustrate the columns of this journal. But engraving remains an art that takes time and is not adapted to capture the beauty of the moment. It was while contemplating the fleeting colours of a sunset on the waters of Fairhaven that I came up with the idea of the luciogram.When I was a child, the old Ama, the eldest of my clan, when she was sorting seeds or carding the anete, used to keep us kids busy with a big box of motega. We locked ourselves inside and tirelessly observed the images that a thin ray of sunlight, which penetrated through a small hole drilled in one side of the trunk, was drawing on the bottom.
It is this image of the past that came to mind as I watched the golds and purples of sunset dilute in the waters of the lake, wondering how to lock this image in the trunk so I could look at it again and again.
Atys' craftsmen and more particularly the dyers, all know that sunlight can alter and modify the colours of their dyes. 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)
Paera Ama Din Covee, in "La nouvelle feuille d'Atys", Quarta, Harvestor 16, 3e CA 2525
———END OF TRANSLATION———
J’avais donc réussi à saisir et à conserver l’image. Je me suis donc attelée au problème de la couleur. Pendant un temps, j’ai repris les techniques des graveurs et j’ai coloré mes images à la main. Mais ce que je savais des teintures et des propriétés des pigments me laissait croire qu’il devait y avoir moyen de capturer aussi la beauté des couleurs. Il fallait simplement trouver le moyen d’insérer les pigments dans la couche sensible à la lumière du fragment d’aile de kizoar. Un mélange d’une bouillie de racine de stinga et de pigments disposé en plusieurs couches monochromes s’avéra être le procédé le plus fiable et celui permettant le rendu le plus lumineux. La sève de silverweed exposée à la lumière réagit plus ou moins fortement, dans le procédé décrit précédemment cela permettait d’obtenir des dégradés de gris. Avec ce nouveau système, la couche de sève fixée par l’œuf et la résine laissent plus ou moins passer la lumière jusqu’aux strates de racine de stinga colorées en rouge, bleu, jaune et vert. Le résultat rend fidèlement compte des couleurs extérieures, pour peu que les couches pigmentées aient été préparées avec soin.
Seulement, tout ceci ne pouvait fonctionner qu’à la lumière du soleil, et encore quand celui-ci brille ardemment. Aussi, m’inspirant de l’éclairage public trycker, qui exploite la luminosité naturelle et si chaude des lucioles, abondantes sur nos terres, j’ai développé une nouvelle forme de mon appareil à capturer les images et les couleurs, que j’ai appelé luciographe ou boîte à lucioles. Les lucioles enfermées dans un compartiment spécial du coffret de kachine peuvent être découvertes de manière à projeter leur lumière sur le sujet dont on veut capturer l’image. Leur éclat tout en nuances chaudes donne à ces luciogrammes, ainsi que j’appelle ces nouvelles images, une tonalité particulière qui m’a poussée à utiliser ce système même en plein jour.
}}
Notes
Le texte ci-dessus provient directement du site :http://www.lanouvellefeuille.info, actuellement fermé. On le trouve encore archivé, mais pour combien de temps ? Mettre les explications ici paraît important pour la sauvegarde du savoir. Paera.
Description de la découverte du procédé; 12 Novembre 2004
