I'm hesitant to imply anything here. But yes, that is correct. What happened is that I emailed Frederik before the day of the sale and told him the situation. He then sent me a web page URL that allowed me to have the discount anytime in the following week. The situation here is obviously different, but maybe he has plans for another sale. What I can say is that he seems a reasonable and personable sort of guy.

I wrote him an email because I wasn't around on the day. He was very accomodating. You can give that a try.

RIP H20

One thing to keep in mind is that, especially when the colors are 'far apart' and there is a gradual change from one to another, all the in-between colors will be shown too. And this might not be what you want.

I don't know how kinko's works but most printers I know of have Photoshop and can size an image to whatever size you like. It's important that you render it to a very high resolution so your image is not pixelated or suffers from aliasing. Some say around 4000x4000 pixels is good, maybe less if your prints won't be very large. One thing you may find is that your colors don't match what the printer prints. It's therefore a good idea to get a small 'proof' of the image to compare to what's on your screen. If they're not the same, or close enough, then you have some work to do. First is to calibrate your display setup. There are lots of sites that have information on this procedure. Photoshop has a quick and easy program you can install called Adobe Gamma that works pretty good. Let us know how it goes.

Cheers,

Tim

Are you printing them yourself or taking them to a printer?

From my viewpoint I would love to see fractals become as much a tool as a end product. This site is, or should be, one for promoting digital art - in all its forms. Spirals and pretty patterns are great, but let's see some more creative usages too.

Thanks Judi.

The way I see it, there's a lot more creativity in fractal art than a lot of 'non-fractalists'  and also some fractalists believe. Everyone has heard the butterfly flapping its wings in China causing a hurricane in Cancun (or where ever) thing. It has to do with chaos when there are many variables (like 3!). Things are so unpredictable but they are still not random. Heck, total randomness is more predictable. Anyway, when we modify parameters and make hundreds, or even thousands, of decisions along the way we are truely creating something that is unique. It may look a lot like a many others but it's not. It's a lot like people's faces. To another race we all pretty much look the same, just as other races tend to look the same to us (no matter what race we are). But I haven't see too many people that look like me - poor bastard if he does.

But what I am getting to, if anyone is still reading ... yawn, is that with every little decision we make (a lot of it is subconscious) we are imbibing our creation with what we are at the time. Maybe just a little bit; it may be just a flap of a butterfly wing but it definitely has an effect on the final 'piece' (I like your reasoning in this, Rick).

Keep flappin',

Tim

Keith, getting back to your original message, the digital art that appears in galleries (of the future) will be the most expressive and that makes people say "Wow!"  I agree with Simon (as usual) in that art must be driven from within, and the tools an artist uses will be those that enable him to express it best.  UF is so powerful; nothing I've seen matches its scope and versatility. I think any technically minded artist will surely gravitate to it.

I think it is good that you are exploring Apo again, since you have in the past been a bit of an Apophobe. There are some great things coming out of Apo. It's a useful arrow in one's quiver, as they say, although I find it a bit limiting in general.

Rick, I don't think you are pedantic. Neither are you a peddler of pedestrian parasols. But you do have the "commodian" gift, something I have always admired.

Cheers,

Tim

Spirals can be cool.

I've used the Gamma utility. The thing I like about the color manager and the profile creation utilities that I mentioned is that when everything is complete one's whole system can be coordinated, and not just one's Adobe programs. Though I'm not sure how far Photoshop takes the output of the Gamma utility, I doubt that it applies it system-wide. In other words, other programs, like the Windows picture and fax viewer for instance (and UltraFractal for that matter), would not necessarily operate under the same harware color profiles and consequently the same internal color-space.

I've been having problems with color management over the last few weeks and I have found some useful tools. (Haven't got what I consider to be the final solution yet but I think I'll be there soon.) Firstly, Microsoft has recently issued a color management utility that can be downloaded for free. It is "not supported" yet but I can testify that it doesn't crash my system. With it you can assign various color profiles to your input and output devices, i.e. scanners, monitors and printers. Secondly, a program called WiziWYG XP for windows XP users (they also have one for Mac) allows you to create color profiles for your monitor, even if you don't have a color measuring device. It is also a free download, from a company called Praxis. They, of course, want you to upgrade to their "pro" version. There may be other freebies out there too. My problem is that the profiles I have created don't produce the results they should when I apply them; the colors seem all right but the screen goes very dark. Perhaps someone can shine a little more light on this.

Well said, Simon. Much of the best of what art does is to challenge. Otherwise a computer could 'create' art.

Good on ya, Vivian.