Schaumburg Prairie Arts Festival

May 26th, 2009

Schaumburg Prairie Arts Festival
Schaumburg Prairie Arts Festival

Saturday the kids and I attended the Schaumburg Prairie Arts Festival. It was beautiful weather for an outdoor fair. This is the 22nd year for this annual juried fine art festival. Over 150 artists and artisans participated in this year’s festival.

My prime motivation for attending was to see what other artists were up to. I confess to having largely ignored the artists specializing in sculpture, blown glass, jewelry, and pottery. My focus was on the work of the photographers and painters.

With respect to photography, one thing was evident: digital photography has become the dominant form of photography. Photographic works came in three basic forms. The first form was what I would call pure photography which consists of photographs with no apparent digital manipulation. The second category would be photographs in which various types of digital manipulation were evident - at least to someone experienced in such matters. The third category would be photographs that had been digitally altered to resemble paintings - a path most frequently taken by those working with Adobe Photoshop or Corel Painter.

I have no personal bias either for or against any of the three aforementioned categories. Rather, the only thing that matters to me is the end product. If someone can take a well composed photograph and skillfully manipulate it to create a convincing painting that is superior to the original photograph, then kudos to that photographer-artist. After all, the final image is what counts.

There were a number of traditional painters present at the art fair as well but for the most part their work, mostly executed on large canvases, was uninspiring. I found this to be particularly true of the abstract artists - though there were a few whose work was inspired.

Thinking back, one thing I don’t recall seeing were any purely digital paintings. Nor were there any artists whose work was the result of a 3D render. Being a fan of space art and astronomy, I was also disappointed to see no space art nor any astronomical art. The closest was a digital photograph of the Aurora Borealis.

Speaking of space art, the reason I am writing this entry so late (oops make that early) is because I spent Memorial Day and this evening (now yesterday) preparing artwork for the Space Art Show at the International Space Development Conference in Orlando Florida. I also created a 13 x 19 inch congratulatory space art card for Peter Kokh, the recipient of the National Space Society’s 2009 Gerard K. O’Neill Award For Space Settlement Advocacy. I do hope that Peter enjoys the card/artwork.

Until next time, Ad Astra

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New Space Art: Titan Landscape

May 18th, 2009

Titan Landscape Space Art
Titan Landscape Space Art by Jim Plaxco

I’ve just added another work of space art to my web site. Titled Titan Landscape, this is an artistic impression of the surface of Titan as seen from a low altitude. Prominent in the piece are a number of lakes and pools of liquid ethane. Their presence is based on analysis of data from the VIMS (Visual and Infrared Mapping Spectrometer) instrument on Cassini and reported on in the July 31 2008 issue of Nature. For more information on this instrument, see the Cassini Visual and Infrared Mapping Spectrometer web page.

Titan Landscape is something of a departure for me. As a rule I have stuck to working with either the inner solar system, specifically Mars and our Moon, or extrasolar objects. For a more complete description of Titan Landscape and to view a wallpaper version of the art, visit the Titan Landscape Gallery Page. Alternatively, an open edition print version with multiple, sectional full size excerpts can be seen at the Fine Art America Titan Landscape page.

Ad Astra, Jim

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Remembering Apollo

May 12th, 2009

Remembering Apollo digital painting
A section of the Remembering Apollo digital painting

I was recently reading about the NASA pull back on its plan to send humans back to the Moon (see NASA may abandon plans for moon base) and could only shake my head in dismay.

A few weeks ago I had the chance to speak to the high school students from three high schools all of whom were members of the Space Exploration Club. My presentation was about what it takes to design and build a lunar base. As a parallel, I used the Army’s experiences with planning, building, and maintaining Camp Century. Camp Century is/was the fabled nuclear powered city under the ice. Today the name Camp Century is probably best known for its ice core samples which have played a prominent role in helping us to understand the Earth’s climate record. Camp Century was abandoned in 1966 due to the shifting movement of the glacial ice cap. This city was eventually crushed by that slow, steady movement.

I spoke to this group of 50 high school students about Camp Century and lunar bases for a solid hour and then answered questions for maybe another half hour. For me, it was a very enjoyable experience seeing how interested these students were in space exploration, science, and energy.

And then I read that NASA may not build a lunar outpost. That plus the news that Orion will be sized to carry only 4 instead of 6 astronauts is a clear indication that NASA’s fortunes have taken a turn for the worse. I find it hard to understand how the political leaders who spend so much time and effort telling us that we must be graduating more engineers and scientists can simultaneously scale back the one program that is such a source of inspiration to students wanting to become engineers and scientists. Does the left brain know what the right brain is up to in Washington?

This got me to thinking about the Apollo missions and the large influence that they had on my life from a philosophical perspective. The quest to understand and know the universe combined with our efforts to grow humanity so that it can exist beyond the confines of Planet Earth is a noble adventure that should be emphasized rather than trivialized. It was the contrast between what is and what could be that led me to create Remembering Apollo because right now memories of man on the Moon is all we have. I wonder just how long we can survive living off memories.

For me Remembering Apollo captures the most important features of the Apollo missions. There is the barren lunar landscape so aptly described as "magnificient desolation" by Apollo 11 astronaut Buzz Aldrin. There is the Lunar Module - the machine that made it possible for the astronauts to land on and return from the Moon. Then there is the Astronaut - the most important element that made the Apollo missions distinct from all the other space exploration missions, mostly forgotten robotic missions to the Moon. In the book Robots in Space: Technology, Evolution, and Interplanetary Travel, an unnamed NASA official is quoted as saying “We don’t give ticker tape parades for robots.” We remember Neil Armstrong, Buzz Aldrin, and Michael Collins, but who remembers Ranger, Lunar Orbiter, or Surveyor? The last element is the United States flag, the symbol of the nation that went to the Moon in peace "for all mankind." I must say how fortunate I consider myself to be in being a witness to this, humanity’s first small step into the wider cosmos.

Creating the Remembering Apollo digital painting

The Remembering Apollo digital painting is 5580 pixels wide by 3412 pixels tall and was digitally painted using the same technique that I developed for Quantum Moon. The digital tools that I used were a Wacom tablet, Adobe Photoshop, and a digital painter program of my own design. For other details on the picture, as well as to see both the complete picture and a full size section of the art, see the Remembering Apollo gallery page. Alternatively, an open edition print version with multiple full size excerpts can be seen at Fine Art America.

Ad Astra, Jim

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Congressman Kirk and Space Solar Power

May 10th, 2009

space based solar power satellite
Space Based Solar Power Satellite Illustration from NSSO Report

Yesterday I attended a Candidate and Issue Forum sponsored by the Schaumburg Township Republican Organization. The featured speaker was U.S. Representative Mark Kirk. Congressman Kirk is a member of the House Committee on Appropriations as well as the House Renewable Energy and Energy Efficiency Caucus and the Congressional Climate Change Caucus. Congressman Kirk represents the 10th District and is a popular representative here in Illinois.

Because of the congressman’s membership on the House Renewable Energy and Energy Efficiency Caucus, I was interested in learning about his position on space solar power. The question that I asked of Congressman Kirk was if during his time on the Renewable Energy Caucus the general subject of space solar power had been discussed and if the caucus had specifically considered the findings and recommendations of the National Space Security Office Space-Based Solar Power As an Opportunity for Strategic Security Feasibility Study. The congressman quickly described the SSP concept at a very high level as large structures in space beaming energy to Earth and referred to it as an exotic energy source which he readily dismissed by quoting one number: launch costs of $10,000 per pound. Congressman Kirk then went on to discuss a variety of other alternative and renewable energy options.

While I was disappointed by his dismissive attitude, he did correctly identify the Achilles’ Heel of Space Solar Power: the cost of access to space. It should be noted that the cost of access to orbit is not the best single number to use in quantifying the cost of space solar power. Rather the discussion should concentrate on the mass required to produce a kilowatt of electricity (kg/kw) and the total system cost to produce a kilowatt of electricity (cost/kw)

Some thirty years ago, Gerard K. O’Neill recognized that launch costs were the central problem associated with the construction of a system of solar power satellites. In his paper Space Colonies and Energy Supply to the Earth (Science, 5 Dec 1975), O’Neill also identified the increasing demand for power as well as the environmental impacts of its production. His visionary solution was to propose the creation of a Space Manufacturing Facility at either the L4 or L5 Libration points which would be supplied by raw materials mined from the Moon. This would drastically reduce over the long term the amount of mass that had to be delivered to space from Earth. More importantly, it would be the first step in the creation of a spacefaring civilization. While this may sound like science fiction, recall that powered flight, space travel, submarines, and nuclear power were all once science fiction. Following are two quotes regarding nuclear power from a couple of visionary scientists.

There is not the slightest indication that (nuclear) energy will ever be obtainable. It would mean that the atom would have to be shattered at will. - Albert Einstein, 1932

Anyone who looks for a source of power in the transformation of the atom is talking moonshine. - Ernest Rutherford, 1936

In other space solar power related news, I will be participating in the Space Solar Power track of programs at the upcoming International Space Development Conference in Florida. I will be a member of the USA and International Strategic, Policy and Technology Issues panel. My co-panelist Kent Tobiska of Space Environment Technologies will give a short presentation on Terrestrial and Space-based Solar Power Systems for Desalination in S. California and Ben Shelef of Spaceward Foundation will give a short presentation on Tie-in between SBSP and the Space Elevator architecture. The title of my segment is The Strategic and Policy Issues of SSP. This will not be a formal presentation. Instead I will share my views with the audience and my co-panelists and solicit their input with respect to my observations. Not being an engineer, I am not in a position to speculate on the engineering aspects of space solar power. However, as a reasonably well informed citizen, I can attempt to understand the social and political objections to space solar power in light of growing world demand for energy - especially green energy. Understanding the societal and political obstacles to space solar power will make it possible to formulate an effective response to those objections, something that lies within the realm of the capabilities of activist organizations.

I have also taken on the job of serving as administrator for the SSAFE (Space Solar Alliance for Future Energy) web site and blog. That is one way in which I can contribute to the dissemination of knowledge about space solar power.

Ad Astra, Jim

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Judging the NASA Lunar Art Contest

May 5th, 2009

Space Art Experiment
A Space Art Experiment just for this post

I spent a good part of the day Sunday judging the art that had been submitted to the NASA Life and Work on the Moon art contest. Last year I served as a judge in this contest and was pleased to be invited back again this year. The contest’s art judges fall into two categories. One category consists of NASA personnel - the techies. The other category is professional artists and educators from outside of NASA. I wrote about my experiences last year in Judging the NASA Life and Work on the Moon Art Contest.

Two things made judging the art contest entries difficult. First, while the contest was open only to full time students, the age of the entrants ran from 6th graders to college graduate-level students. Note that the contest was supposed to be for high school and college students only but given that these younger students had undertaken the effort to create art for the contest, how could they be turned away? My hat is off to NASA for having accepted their entries. A second aspect of the art contest that added difficulty was that entries consisted of 2D art (digital and traditional paintings, drawings, etc), videos, music, sculptures, and dioramas. A very diverse range of art forms from a very diverse range of ages.

Judges were asked to grade the submissions based on three categories. The first was the Artist Statement. The purpose of the Artist Statement was to give the students the opportunity to explain what it was that inspired and motivated them with respect to their submission, what media they chose to use and why, and any additional comments they cared to make about their art submission.

The second category was Creativity and Artistic Expression. This was the most important judging category and also the most subjective. For my part I took into consideration how the artist used composition, color, and line in creating their artwork. I also considered how realistic - or plausible - the subject was. Lastly I considered both the quality of the technical execution involved and the relevance of the art to the contest’s stated theme of living and working on the Moon.

The final category was Validity. For validity, the basic question to be answered was did the artist’s Artist Statement and artwork demonstrate a basic understanding of the lunar environment and the conditions in which people would live and work on the Moon. Some of the student artists demonstrated a surprising degree of knowledge in this respect while others demonstrated some very basic misunderstandings of that environment. In some respects this was the most difficult category to evaluate. The degree to which a contest entrant demonstrated their level of knowledge was very dependent on the nature of their submission. For example, the music submission dealt with the emotions felt by an astronaut returning to the Moon from Earth. Generally for those submissions for which the artist’s level of knowledge regarding the lunar environment could not be determined, I gave them a Validity grade that was in line with the grade I had given them for their Artist Statement and Creativity and Artistic Expression.

For my part I am anxious to see the final results of the contest - if just to find out how well the entries that I gave top scores to did. I will post a follow up here once the winners of the art contest are announced.

The Illustration

To illustrate this post I decided to create a quick work of space art using Adobe Photoshop. One of the books I’m reading right now, a book I highly recommend, is
How to Read a Modern Painting: Lessons from the Modern Masters by Jon Thompson. One of the paintings discussed in this book is Road with Men Walking, Carriage, Cypress, Star, and Crescent Moon by Vincent van Gogh. Being astronomically oriented, my focus was on van Gogh’s portrayal of the sky, star, and Moon.

For my Space Art Experiment picture I experimented by creating a textured background sky from overlapping circles, creating nonuniform stars each with a color gradient, and finally adding a planet and moon created from a series of imperfectly aligned colored circles subsequently shaded to reflect a day/night side to each.

While generally pleased with how this experiment turned out, I don’t know that I am sufficiently excited by it to create a full size print version using the same techniques. What do you think?

Recommended Reading
How to Read a Modern Painting: Lessons from the Modern Masters
by Jon Thompson

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Space Art and Astronomy Day

May 2nd, 2009

Astronomy Day at Harper College
Map for Astronomy Day at Harper College

Saturday May 2, the Northwest Suburban Astronomers will be hosting an evening of astronomical activities at Harper College in Palatine IL. Some of what visitors can expect includes:

  • Telescopes on Display
  • Access to the Campus Observatory
  • Astronomy Lectures
  • Displays and Photographs
  • Projects for Children

I will be one of the lecturers and I’ll be talking about space art. The title of my presentation is Art and the Exploration of Space. I provided the following description of my talk to the NSA:

Art has been used as a means of visualizing alien worlds and illustrating science fiction magazines. The arrival of the space age provided art with a new purpose: the visualization of the human exploration of space. This presentation provides a historical overview of the evolution of space art and the means by which art has been used to capture and portray humanity’s first steps into the space frontier.

This is an expanded version of a talk I originally gave in 2008 at the International Space Development Conference in Washington D.C.

Note that this Astronomy Day event will be held rain or shine. Most of the activities are inside. If the sky is clear, telescopes will be available for viewing a variety of celestial objects. The event is free and suitable for both adults and children.

Astronomy Day Details
Saturday May 2, 2009 at 5:30 pm
Programs begin on the hour at 6:00, 7:00, and 8:00
The Planetarium Dome admission requires a free ticket available at the information desk

WHERE:
William Rainey Harper College, Building Z
Algonquin Road Entrance, Parking Lots 2 & 3
Palatine, IL

Ad Astra, Jim

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Hiking Moraine Hills State Park

April 22nd, 2009

Red-winged Blackbird
Red-winged Blackbird at Moraine Hills State Park, IL

The family and I spent Saturday hiking around Moraine Hills State Park, IL. This was our first visit to the park and we spent most of our time on the trails in the vicinity of Lake Defiance. It was an overcast day with light rain on and off but even so the trails had a fair share of hikers and bikers. This early in the year, the only thing green at the park is the grass.

Lake Defiance and the surrounding terrain were formed by the Wisconsin glacier which covered the area some 15,000 years ago. The park’s name, Moraine Hills, is a direct reference to the glacial process that created the terrain and lakes. About half the park’s 1700 acres is wetlands and lakes. Because of its diversity of habitats, Moraine Hills is well known for the abundance and variety of birds present. For example, the photograph of the Red-winged Blackbird used to illustrate this post.

For photographers interested in marshlands and birds, Moraine Hills State Park, located just east of McHenry IL, is an excellent destination. I don’t know why I didn’t visit before now. I do hope to have the opportunity to revisit the park in the coming month at which time I will concentrate on hiking the trails that run through the marshes. I must confess that on this trip I didn’t even take a dozen photographs. The sky was basically a flat gray and the only thing not brown was the grass. I expect that my next visit will be both greener and bluer.

The Photograph

The photograph used to illustrate this post was taken with a Nikon D50 fitted with a Nikon ED AF Nikkor 80-200mm lens. I brought the photograph into Photoshop and performed some digital manipulation on the picture leaving the blackbird untouched. I then shrunk and closely cropped the image to fit the web page.

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New Wacom Tablet: Intuos4

March 28th, 2009

Wacom Intuos4
Wacom Intuos4 Medium

Wacom has just released its new line of pen tablets - the Intuos4.  From the product write ups it looks like it might be time for me to upgrade. I currently use an Intuos2 tablet with my desktop for all my “real” graphics work. My Intuos2 was an upgrade from an older, smaller Graphire tablet which I still use on occasion with my laptop at home and when traveling.

I must say that once I started using a pen and tablet combination for my graphics work, any time I went back to use my mouse it seemed like a giant leap backward. For the Intuos4 it looks like the biggest advances have been made in the areas of pen sensitivity and responsiveness - the very features that attracted me to the Wacom tablet in the first place. If you have never used a pen and tablet in your graphics work, take this test. First, with a pencil and paper write in cursive your signature. Then, with the paint program of your choice, write your signature using your mouse. You will see that your mouse-created signature is no where near as smooth or as natural looking as your pencil and paper signature. Writing using a tablet and pen is very much like writing using traditional media. While not as versatile as a traditional paint brush, the Wacom pen is as close as you can come digitally.

I am not going to go into a detailed list of the Intuos4 features - there is a good summary of the features at the Amazon Wacom Intuos4 Medium Pen Tablet product page.

Once you’ve bought your Intuos4, you will be able to download several pieces of software that come bundled with the product. The software consists of the following two plugins for Photoshop:

  • Nik® Color Efex Pro™ WE6
  • Wacom Brushes 3.0 for Photoshop

and your choice of two of the three following software packages:

  • Adobe Photoshop Elements 7 Windows or Adobe Photoshop Elements 6 for Macintosh
  • Autodesk SketchBook Express® 2010
  • Corel Painter Sketch Pad

Given that I already have the full blown versions of Photoshop and Painter, I would download SketchBook. While I wasn’t able to find any information about Autodesk SketchBook Express 2010, I did find the following about SketchBook Express 2009.

Back to the Intuos4, it is available in four sizes (dimensions given are for the active area):

The size of my Intuos2 puts it somewhere between the size of the Medium and Large Intuos4. Based on that I will probably upgrade to the Wacom Intuos4 Large Pen Tablet as it is somewhat larger than my Intuos2 and is just over $300 cheaper than the Wacom Intuos4 Extra Large Pen Tablet. Also, the footprint of the Large is a manageable 18.7 x 12.6 inches whereas the Extra Large consumes a hefty 24.5 x 18.2 inches of desktop space.

Only one question remains: when I upgrade to an Intuos4, what will happen to my old but trusty Graphire since my Intuos2 will be reassigned to laptop service.

Ad Astra, Jim

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New Abstract Art - Fizzy Goodness

March 23rd, 2009

Fizzy Goodness digital art
Fizzy Goodness, 27.5 by 17 inches,  by Jim Plaxco

I just added a newly created artwork to my Abstract Gallery. Titled Fizzy Goodness, this art is my tribute to carbonated, sugar-enriched, artificially colored water. That’s right - soda pop. Or cola, depending on what part of the U.S. or the world you are from.

I can’t claim to be a cola connoisseur. Coca-cola, Dr Pepper, Root Bear, Orange Crush, and Squirt are my beverages of choice - delivering the high doses of sugar - and in some cases caffeine - that my body craves. I must confess that I don’t imbibe very often - perhaps only a few times a month as I really don’t need all that sugar and I try to set a good example for my two kids. To satisfy my desires for cold fizzy drinks I generally resort to simple carbonated water.

Fizzy Goodness is available as both a limited edition and open edition print. For information about the hand signed limited edition gallery wrap canvas in its original size, see Fizzy Goodness Limited Edition Print.
For the open edition print, which is available in a range of sizes, see Fizzy Goodness at Fine Art America. Note that while I personally create the limited edition prints, the open edition prints are produced by Fine Art America.

Cheers, Jim.

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The Cost of Art Appreciation

March 17th, 2009

Beach Sky Study Digital Painting
Beach Sky Study 1

There is bad news in store for folks visiting the Art Institute of Chicago. As of May 23 admission to this world class art museum will jump 50 to 70 percent. General admission will be $18 for adults, up from $12, and $12 for seniors and students, up from $7 - a 70 percent increase. There is no charge for children under 12. The museum has said that the extra fees charged for admission to special exhibits, like the current Edward Munch art exhibit Becoming Edward Munch: Influence, Anxiety, and Myth, will not rise - at least not this year. According to an Art Institute spokesman, the admission increase is needed to keep pace with rising costs. Note that general admission fees typically make up a small fraction of an art museum’s overall income. In 2006 general admission fees represented 9 percent of the Art Institute’s museum-based expenses. Evidentially endowments, government grants, and donations from private donors and foundations are down for museums in general - increasing the pressure on museums to raise their admission fees.

It was only in 2006 that the Art Institute began charging admission. Before that there was an optional admission donation. This new increase is being justified on the grounds that there are other art museums charging higher admission fees; that it has been five years since an increase; and that the addition of the Modern Wing (264,000 square feet costing $283 million) adds to the visitor’s experience.

For comparison purposes, here are the admission costs of some other major art museums based on information from the article Filling out the picture on Art Institute Admission that appeared in the March 15, 2009 Chicago Tribune:

  • $20 - Museum of Modern Art, New York
  • $20 (optional) - Metropolitan Museum of Art, New York
  • $18 - Guggenheim Museum, New York
  • $18 - Art Institute of Chicago new admission fee
  • $17 - Boston Museum of Fine Art, Boston
  • $12 (optional) - Museum of Contemporary Art, Chicago
  • $12 - Milwaukee Art Museum, Milwaukee
  • $12 - Art Institute of Chicago current admission fee
  • Free - Cleveland Museum of Art, Cleveland
  • Free - Getty Center, Los Angeles
  • Free - National Gallery of Art, Washington DC
  • Free - Philadelphia Museum of Art, Philadelphia

For those on a budget, the Art Institute of Chicago, as well as the other major Chicago museums, still offers free admission days throughout the year. Art Institute admission is also free from 5 to 8 p.m. every Thursday and on Friday nights from Memorial Day through Labor Day. There will also be free admission during a celebration of the Modern Wing planned for May 16-22. Note that Chicago residents can get free admission through the Chicago Public Library - fair since the museum is on land owned by the Chicago Park District.

While I sympathize with the Art Institute’s plight, raising admission fees could not come at a worse time. When one considers the costs of transportation, parking, and lunch, a family outing to the Art Institute is no bargain. This admission fee increase could actually result in a decrease in income for the museum since it will probably reduce the number of visitors per year - visitors who often purchase tickets for special exhibits, dine at the museum’s restaurant, and spend money in the gift shop.

And if President Obama has his way, things may get worse for our nation’s museums given that Obama wants to limit the ability of those making more than $250,000 a year to claim a tax deduction for their charitable donations. Interestingly Obama’s plan only penalizes those who give something back to their community and not those who don’t. The net result of this plan may well be to bring about even more admission fee increases as museums attempt to make up shortfalls in other fundraising areas.

My advice: visit an art museum today - before it becomes too expensive to.

Post Illustration: Beach Sky Study 1

I’ve illustrated this post with Beach Sky Study 1 which is an experimental digital landscape painting.

References:

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