metapost graphics
TRANSCRIPT
MetaPostGraphics
Once upon a time we started using MetaPost, thegraphic companion to TEX. Since then it has beenour main tool for making graphics. Welcome toour little showcase. You can click on the graphicto show the real thing.
This is our 1998 christmas card graphic. It visu-alizes the count down to the millenium. It's a realcount down: there are 12 60 clocks.
This candle is the basis for the 1999 christ-mas card. We let MetaPost generate 100 differ-ent candles and let TEX treat each candle as aword. So, the core of the card is just a typesetpararaph of graphics. Each card itself was differ-ent.
Many of the graphics made at Pragma ADE haveone thing in common: randomness. This is alsotrue for the 2000 christmas card, which shows2001 stars in our company's color.
This tree was the building block of one of theconcepts for the 2000 christmas card, but theoverall design was too inefficient for an inkjetprinter. In 2001 support for transparency wasadded to ConTEXt, so we gave this tree anotherchance. Instead of random green colors, we nowuse the colors of the dutch flag.
Here is another christmas tree. This time werandomize the trunk and body out of needles.The randomization takes place within predefinedshapes. The composition is made out of threetimes 2003 needles, wood chips and snowflakes.Of course each card is unique.
This time the main picture counts 2000 com-ponents with the triangular shape familiar fromChristmas trees. The 4th year of the millenium isrepresented by the four shapes below the text;for them we used our company colors. If you lookfor a long time to graphics like this, you imag-ine seeing patterns in what actually is a randomgraphic.
20052005I started (as usual) with some random graphic,this time using the Hermann Zapf's Optima Novafont. Lack of space for detail made me drop thatvariant and stick to simple transformations. Thisfont is one of the most beautiful font design Iknow. Optima Nova also translates well into ahappy new year wish.
MMVI
This time we show all the roman numerals I-MMVas one long sequence, typeset in a square para-graph with linebreaks chosen in such a way thatwe get a full block of text. A typical TEX job.Here we show the version with Hermann Zapfsbrand new Palatino Nova, but the card itself wasdone in Optima Nova with HZ optimization.
Halfway 2006 the cowfont (koeieletters) wasadded to the ConTEXt distribution. This font isa combined effort of Duane Bibby, Taco Hoekwa-ter and Hans Hagen. In addition to regular char-acters, it also provides cow-math and bunch oflogo's, accessible as ligatures. Apart from being anice font, it also provides a playground for (new)TEX features.
hzIn 2007 Hermann Zapf, Taco Hoekwater, VolkerSchaa en Hans Hagen cooperated in a projectthat resulted in a reshaped design of the familiarEuler typefaces which is dedicated to Don Knuth's70th birthday. Since it is a math font, in thiscard we used some number trickery. In additionto the traditional Euler fonts, we used a specialtext version.
Sometime in 2008 the MetaPost library wasadded to LuaTEX and we celebrated that withimplementing runtime generation of Don Knuthspunk font. The card is generated using TEX, Meta-Post and Lua. A careful examiner can find severaloccurrences of three words that were frequentlyheard in 2008.
Around the time that the anual card was tobe made, the Climate Conference in Copenhagenturned out to be a failure. The CO\low{2} con-centration in the atmosphere is getting close to400 ppm in 2009 and it will get worse. Hopefullywe will never see a concentration of 2010 ppm.
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As 1 plus 1 equals 2 and 1 minus 1 equals 0,on this card we create the 20 out of ones. Thebasic shapes of the numbers are taken from thepunk font. The ones got a serif to make thingslook nicer and its randomized path gives somespice to the whole.
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The fact that 12 equals two times 6 brings usto dice. Each card that we sent out had (asusual) a different look and shows a (random) se-ries of dice that accumulate to 2012. We endup with 24 times 24 dice on each card and it isa nice excercise in statistics to figure out whythere are so many islands with similar dice.
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All this endless talk about crisis and disastercoming made me wonder if it has been coded inthe DNA of time. This years card is a concati-nation of all year in zeros and ones from 1 tillnow. Indeed, hidden in this sequence are severalinstances of crisis encoded in morse. Not muchcrisis ahead.
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This year we use the four digits that make upthe number 2014 to get the graphic, so we have0-4 with 3 missing. They make four points oneach side of a square and we connect them intoclosed shapes, unless they are the same. Thecombinations of four points also determine thecolors. This gives the visual effect of seeing tri-angles and these make stars. Each card is (asusual) different, but only in the order in whichthe colors are assigned differs.
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The card is using the numbers 20 and 15 to cre-ate a horizontal and vertical pattern. By alter-nating trough the numbers we get a spiked pathwhile by going back to the starting point we getan alternation due to the way paths are ren-dered. This turns a rather simple graphic into amore chaotic pattern mess.
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This year using the peace sign makes more thansense. And as peace has a random property the2016 signs are rotated randomly which gives arandom pattern. Of course each card we send outis different too.
We can only hope that 2017 is a better andmore constructive year for the European Union,which is why this years card draws the 2016map of the union using the symbol that deco-rates its flag — times per randomized card. In afew years the contours might look quite different.Imagine for a while your country being added toor removed from the picture.
ޘޗޖᵬᵭᵮܤܣܢ
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As we want a green world, this year uses the setof three emoji that visualizes the world as weknow it. We show 20 times 18 symbols in sets ofthree, of course randomized a bit. The latest fonttrickery is used: the emoji themselves have colorpalets that use transparencies (we overload thenormal colors as set in the font) and the textfont used is a so called variable font.
In 2001 the Dutch Speaking TEX User group com-posed a cdrom with all issues of their journal.The cdrom comes with abstracts and an index inthe form of an interactive pdf document. Hereyou see how the cdrom looked like.
This counter was used in an invitation card forVolker ambassador of Dante e.V. Schaa's 50thbirthday party. The text was typeset in Palatino,one of Zapfs fonts, Hermann Zapf being one ofVolkers favorite designers. Each invitation wasunique due to MetaPost random generator. Thecolors run from greenish to blueish if fifty steps.
This is the first of a series of cdrom covers thatwe use at Pragma ADE. A certain amount of sim-ple manual labour is compensated by the compli-cated graphic.
ConTEXt comes from the Netherlands, and tradi-tionally this small country is associated with windmills. These look like this. We use quote sometransparencies here so you can imagine thatit takes some time to render this picture on aprinter.
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Het grote aftellen begint. Nog ruim 350 keerklo
kje
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ijwen
senu
eenvro
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99
9,
zonderalteveelaftelproblemen.PragmaA
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Een ding is zeker,
tijdens de overgang
naar het nieuwe
millennium zullen
bij ons de kaarsen
blijven branden.
Wij wensen u een
goede 21e eeuw toe.
PRAGMA ADE
Ridderstraat 27
8061GH Hasselt NL
+31 38 477 53 69
www.pragma-ade.nl
Wij wensen u
een sterk 2001!
PRAGMA ADE
Ridderstraat 27
8061GH Hasselt NL
+31 38 477 53 69
www.pragma-ade.com
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Wij hopen dat u in
2002 door de bomen
het bos blijft zien!
PRAGMA ADE
Ridderstraat 27
8061GH Hasselt NL
+31 (0)38 477 53 69
www.pragma-ade.com
www.pragma-pod.nl
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Wij wensen ueen prettig engezond 2003.
PRAGMA ADERidderstraat 27
8061GH Hasselt NL
+31 (0)38 477 53 69www.pragma-ade.comwww.pragma-pod.com
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Wij wensen ueen gezond
en voorspoedig
PRAGMA ADERidderstraat 27
8061GH Hasselt NL
+31 (0)38 477 53 69www.pragma-ade.comwww.pragma-pod.com
Wij wensen ueen optimaal
nieuw jaar.
Hans HagenTon Otten
Optima Nova 2005Optima Nova 2005 www.pragma-ade.com
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ܤܣܢᵬᵭᵮܤܣܢᵬᵭᵮޘޗޖޘޗޖܤܣܢᵬᵭᵮᵬᵭᵮޘޗޖܤܣܢᵬᵭᵮܤܣܢޘޗޖޘޗޖᵬᵭᵮޘޗޖܤܣܢ
ᵬᵭᵮޘޗޖܤܣܢᵬᵭᵮܤܣܢޘޗޖᵬᵭᵮܤܣܢޘޗޖܤܣܢޘޗޖᵬᵭᵮᵬᵭᵮܤܣܢޘޗޖޘޗޖܤܣܢᵬᵭᵮ
ᵬᵭᵮܤܣܢޘޗޖܤܣܢޘޗޖᵬᵭᵮᵬᵭᵮޘޗޖܤܣܢᵬᵭᵮޘޗޖܤܣܢᵬᵭᵮܤܣܢޘޗޖᵬᵭᵮܤܣܢޘޗޖ
ᵬᵭᵮܤܣܢޘޗޖᵬᵭᵮޘޗޖܤܣܢܤܣܢᵬᵭᵮޘޗޖܤܣܢޘޗޖᵬᵭᵮܤܣܢ
ᵬᵭᵮޘޗޖᵬᵭᵮޘޗޖܤܣܢ
ᵬᵭᵮޘޗޖܤܣܢᵬᵭᵮܤܣܢܤܣܢޘޗޖᵬᵭᵮޘޗޖ
ᵬᵭᵮᵬᵭᵮޘޗޖܤܣܢޘޗޖܤܣܢ
ᵬᵭᵮޘޗޖܤܣܢᵬᵭᵮޘޗޖܤܣܢᵬᵭᵮޘޗޖޘޗޖܤܣܢᵬᵭᵮܤܣܢܤܣܢᵬᵭᵮܤܣܢޘޗޖᵬᵭᵮᵬᵭᵮޘޗޖܤܣܢޘޗޖ
ܤܣܢᵬᵭᵮޘޗޖᵬᵭᵮܤܣܢޘޗޖᵬᵭᵮܤܣܢޘޗޖܤܣܢᵬᵭᵮ
ܤܣܢޘޗޖᵬᵭᵮܤܣܢޘޗޖᵬᵭᵮޘޗޖᵬᵭᵮޘޗޖޘޗޖܤܣܢᵬᵭᵮޘޗޖܤܣܢᵬᵭᵮᵬᵭᵮܤܣܢޘޗޖ
ޘޗޖᵬᵭᵮܤܣܢᵬᵭᵮܤܣܢޘޗޖܤܣܢᵬᵭᵮޘޗޖܤܣܢޘޗޖᵬᵭᵮܤܣܢܤܣܢᵬᵭᵮ
ޘޗޖޘޗޖܤܣܢޘޗޖᵬᵭᵮᵬᵭᵮܤܣܢޘޗޖ
ᵬᵭᵮᵬᵭᵮܤܣܢޘޗޖᵬᵭᵮܤܣܢޘޗޖᵬᵭᵮᵬᵭᵮޘޗޖܤܣܢޘޗޖᵬᵭᵮܤܣܢޘޗޖܤܣܢᵬᵭᵮޘޗޖܤܣܢᵬᵭᵮܤܣܢ
ޘޗޖᵬᵭᵮܤܣܢᵬᵭᵮܤܣܢޘޗޖᵬᵭᵮܤܣܢޘޗޖޘޗޖܤܣܢܤܣܢޘޗޖᵬᵭᵮᵬᵭᵮޘޗޖܤܣܢ
ޘޗޖܤܣܢܤܣܢᵬᵭᵮޘޗޖޘޗޖᵬᵭᵮܤܣܢᵬᵭᵮᵬᵭᵮޘޗޖܤܣܢᵬᵭᵮޘޗޖܤܣܢޘޗޖ
ᵬᵭᵮܤܣܢᵬᵭᵮܤܣܢޘޗޖޘޗޖܤܣܢᵬᵭᵮ
ᵬᵭᵮܤܣܢޘޗޖᵬᵭᵮܤܣܢޘޗޖܤܣܢᵬᵭᵮޘޗޖᵬᵭᵮܤܣܢޘޗޖܤܣܢܤܣܢᵬᵭᵮޘޗޖܤܣܢᵬᵭᵮޘޗޖ
ᵬᵭᵮᵬᵭᵮޘޗޖޘޗޖ
ᵬᵭᵮܤܣܢޘޗޖܤܣܢᵬᵭᵮܤܣܢޘޗޖ
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ܤܣܢޘޗޖᵬᵭᵮᵬᵭᵮޘޗޖܤܣܢᵬᵭᵮޘޗޖޘޗޖᵬᵭᵮܤܣܢᵬᵭᵮܤܣܢޘޗޖᵬᵭᵮܤܣܢޘޗޖܤܣܢ
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