ASCII by Rhein-Verlag

ASCII

Galerie Rheinverlag & Edition Galerie Rheinverlag & Edition

ASCII

D端sseldorf

Heft 1

Mai 2009

Galerie Rheinverlag & Edition

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ASCII 1968 Code Chart

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art is a graphic design technique that utilizes computers for presentation and consists of pictures pieced together from the 95 printable (from a total of 128) characters defined by the ASCII Standard from 1963 and ASCII compliant character sets with proprietary extended characters (beyond the 128 characters of standard 7-bit ASCII). The term is also loosely used to refer to text based art in general. ASCII art can be created with any text editor, and is often used with free-form languages. Most examples of ASCII art require a fixed-width font (non-proportional fonts, like on a traditional typewriter) such as Courier for presentation. Among the oldest known examples of ASCII art are the creations by computer-art pioneer Kenneth Knowlton from around 1966, who was working for Bell Labs at the time. „Studies in Perception I“ by Ken Knowlton and Leon Harmon from 1966 shows some examples of their early ASCII art. One of the main reasons ASCII art was born was because early printers often lacked graphics ability and thus characters were used in place of graphic marks. Also, to mark divisions between different print jobs from different users, bulk printers often used ASCII art to print large banners, making the division easier to spot so that the results could be more easily separated by a computer operator or clerk. Since 1867 typewriters have been used for creating visual art. The oldest known preserved example of typewriter art is a picture of a butterfly made in 1898 by a woman named Flora Stacey. In the 1954 short film Stamp Day for Superman, typewriter art was a feature of the plot. The widespread usage of ASCII art can be traced to the computer bulletin board systems of the late 1970s and early 1980s. The limitations of computers of that time period necessitated the use of text characters to represent images. Along with ASCII‘s use in communication, however, it also began to appear in 5

the underground online art groups of the period. An ASCII comic is a form of webcomic which uses ASCII text to create images. In place of images in a regular comic, ASCII art is used, with the text or dialog usually placed underneath. During the 1990s, graphical browsing and variable-width fonts became increasingly popular, leading to a decline in ASCII art. Despite this, ASCII art continued to survive through online MUDs (textual multiplayer roleplaying games), Internet Relay Chat, E-mail, message boards and other forms of online communication which commonly employ the needed fixed-width. Over the years, warez groups began to get into the ASCII art scene. Warez groups usually release .nfo files with their software, cracks or general illegal software reverse-engineering releases. The ASCII art will usually include the warez group‘s name and maybe some ASCII borders on the outsides of the release notes, etc. ASCII art is used wherever text can be more readily printed or transmitted than graphics, or in some cases, where the transmission of pictures is not possible. This includes typewriters, teletypes, non-graphic computer terminals, printer separators, in early computer networking (e.g., BBSes), e-mail, and Usenet news messages. ASCII art is also used within the source code of computer programs for representation of company or product logos, and flow control or other diagrams. In some cases, the entire source code of a program is a piece of ASCII art — for instance, an entry to one of the earlier International Obfuscated C Code Contest is a program that adds numbers, but visually looks like a binary adder drawn in logic ports. Examples of ASCII-style art predating the modern computer era can be found in the June 1939, July 1948 and October 1948 editions of Popular Mechanics. „0verkill“ is a 2D platform multiplayer shooter game designed entirely in colour ASCII art. MPlayer and VLC media player can display videos as ASCII art. ASCII art is used in the making of DOS-based ZZT games. Another example of ASCII art in games is „Original War“, a little-known game for Windows, in which the cutscenes for the Russians are made up totally of ASCII art. The simplest forms of ASCII art are combinations of two or three characters for expressing emotion in text. They are commonly referred to as ‚emoticon‘, ‚smilie‘, or ‚smiley‘. There is another type of one-line ASCII art that does not require the mental rotation of pictures, which is widely known in Japan as kaomoji (literally „face characters“.) Traditionally, they are referred to as „ASCII face „. Today, some call them „verticons“. More complex examples use several lines of text to draw large symbols or more complex figures. 6

Styles of the computer underground text art scene Atari 400/800 ATASCII - The Atari 400/800 did not follow the ASCII standard and had its own character set, called ATASCII. The emergence of ATASCII art coincided with the growing popularity of BBS Systems caused by availability of the acoustic couplers that were compatible with the 8-bit home computers. ATASCII text animations are also referred to as „break animations“ by the Atari sceners. C-64 PETSCII - The Commodore 64, which was released in 1982, also did not follow the ASCII standard. The C-64 character set is called PETSCII, an extended form of ASCII-1963. As with the Atari‘s ATASCII art, C-64 fans developed a similar scene that used PETSCII for their creations. „Block ASCII“/„High ASCII“ style ASCII art on the IBM PC - Socalled „block ASCII“ or „high ASCII“ uses the extended characters of the 8-bit code page 437, which is a proprietary standard introduced by IBM in 1979 (ANSI Standard x3.16) for the IBM PC and MS DOS operating system. „Block ASCIIs“ were widely used on the PC during the 1990s until the Internet replaced BBSes as the main communication platform. Until then, „block ASCIIs“ dominated the PC Text Art Scene. The first art scene group that focused on the extended character set of the PC in their art work was called „Aces of ANSI Art,“ or „AAA.“ Some members of left in 1990, and formed a group called ACiD, „ANSI Creators in Demand.“ In that same year the second major underground art scene group was founded, ICE , „Insane Creators Enterprise“. There is some debate between ASCII and block ASCII artist, with „Hardcore“ ASCII artists maintaining that block ASCII art is in fact ANSI art, because it does not use the 128 characters of the original ASCII standard. On the other hand, block ASCII artists argue that if their art uses uses only characters of the computers character set, then it is to be called ASCII, regardless if the character set is proprietary or not. Microsoft Windows does not support the ANSI Standard x3.16. One can view block ASCIIs with a text editor using the font „Terminal,“ but it will not look exactly as it was intended by the artist. With a special ASCII /ANSI viewer, such as ACiDView for Windows (see ASCII and ANSI art viewers), one can see block ASCII and ANSI files properly. An example that illustrates the difference in appearance is part of this article. Alternatively, one could look at the file using the Type command in the command prompt. „Amiga“/“Oldskool“ style ASCII art - In the art scene one popular ASCII style that used the 7-bit standard ASCII character set was the so called „Oldskool“ Style. It is also called „Amiga style“, due to its origin and widespread use on the Commodore Amiga Computers. The style uses primarily the 7

characters: _/\-+=.()<>:. The „oldskool“ art looks more like the outlined drawings of shapes than real pictures. This is an example of „Amiga style“ (also referred to as „old school“ or „oldskool“ style) scene ASCII art. The Amiga ASCII Scene surfaced in 1992, 7 years after the introduction of the Commodore Amiga 1000. The Commodore 64 PETSCII scene did not make the transition to the Commodore Amiga as the C64 demo and warez scenes did. Among the first Amiga ASCII art groups were ART, Epsilon Design, Upper Class, Unreal. This means that the text art scene on the Amiga was actually younger than the text art scene on the PC. The Amiga artists also did not call their ASCII art style „Oldskool“. That term was introduced on the PC. When and by whom is unknown and lost in history. The Amiga style ASCII artwork was most often released in the form of a single text file, which included all the artwork (usually requested), with some design parts in between, as opposed to the PC art scene where the art work was released as a ZIP archive with separate text files for each piece. Furthermore, the releases were usually called „ASCII collections“ and not „art packs“ like on the IBM PC. This kind of ASCII art is hand made in a text editor. Popular editors used to make this kind of ASCII art include CygnusEditor aka CED (Amiga) and EditPlus2 (PC). Oldskool font example from the PC, which was taken from the ASCII Editor FIGlet. “Newskool” style ASCII art - Another popular style of the PC underground art scene, which is using primarily the characters like “$#Xxo.” was called “Newskool”. This label is actually inaccurate because the style was not “new”; on the contrary it was very old but fell out of favor and was replaced by “Oldskool” and “Block” style ASCII art. Most sceners deemed it a new style, nonetheless, and dubbed it “Newskool” upon its comeback and renewed popularity at the end of the nineties. “Newskool” continued to evolve and the use of extended proprietary characters was introduced. The classic 7-bit standard ASCII characters remain predominant. The extended characters are primarily used for “fine tuning” and “tweaking” of the ASCII image. With the introduction and wide spread adaptation of Unicode the style developed further and new forms of text art evolved from that as well.1

1 From: Wikipedia, the free encyclopedia; http://en.wikipedia.org/wiki/Ascii_art Date of last change: 22. June 2009

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Hot Water, 2001

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Cafe Terrace (Van Gogh), 2001

______ /\ \ / \ \ / \_____\ _\ / ____/_ /\ \ / /\ \ / \ \/_/ \ \ / \__/ \_____\ _\ / \ / ____/_ /\ \ / \ / /\ \ / \ \/_____/\/_/ \ \ / \_____\ / \_____\ _\ / / \ / ____/_ /\ \ / / \ / /\ \ / \ \/_____/ \/_/ \ \ / \_____\ / \_____\ _\ / / \ / ____/_ /\ \ / / \ / /\ \ / \ \/_____/ \/_/ \ \ / \_____\ / \_____\ _\ / /_ ______ ______ _\____/ ____/_ /\ \ / / \/\ \/\ \/\ \/\ \ / \ \/_____/ \ \ \ \ \ \ \ \ \ / \_____\ \_____\ \_____\ \_____\ \_____\ \_____\ \ / / / / / / / / / / / / \ / / / / / / / / / / / / \/_____/\/_____/\/_____/\/_____/\/_____/\/_____/

Impossible Triangel, 2000

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Castle, 1999

_____ / \ Hmmm...where did I see (____/\ ) that toilet roll? ...... |___ U?(____ _\L. | \ ___ / /"""\ /.-' | |\ | ( / _/u | \___|_)_| \| \\ / / \_(___ __) | \\ / / | | | | ) _/ / ) | | _\__/.-' /___( | | _/ __________/ \ | | // / ( ) | | ( \__|___\ \______ /__|____| \ (___\ |______)_/ \ |\ \ \ / \ | \__ ) )___/ \ \ )/ /__( ___ | /_//___| \_________ _/ ( / OUuuu \ `----'(____________)

The Thinker, 2001

_________________ /| / / | / / | |-----------------| | | /\ | | | / \ | / | /____\ | / | / \ | / | / \ | / |_________________|/ /

__________________ |\ \ | \ \ | \_________________\ | | | | | ______ | | | | \ | | | |_____| | \ | | | | \ | |_____/ | \|__________________| ___________________ /| / / | /__________________/ | | ______ | | | | | | | | | | | | | | / | |______| | / | | / |_________________|/ /

Thinking, 1994

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No Title, 2001

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Room, 2000

[If Napoleon hadn't been beaten at Waterloo we'd all be speaking french on the web.] ___________ | | | ah merde! | |___________| /

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No Title, 2000

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Troll under bridge, 2004

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Six Pillows, 2001

__________________________________________________ )_(_(_(_(_(_(_(_(_(_(_(_(_(_(_(_(_(_(_(_(_(_(_(_(_(( /_(_(_(_(_(_(_(_(_(_(_(_(_(_(_(_(_(_(_(_(_(_(_(_(_(_(\ /_(_(_(_(_(_(_(_(_(_(_(_(_(_(_(_(_(_(_(_(_(_(_(_(_(_(_(\ /_(_(_(_(_(_(_(_(_(_(_(_(_(_(_(_(_(_(_(_(_(_(_(_(_(_(_(_(\ /_(_(_(_(_(_(_(_(_(_(_(_(_(_(_(_(_(_(_(_(_(_(_(_(_(_(_(_(_(\ /_(_(_(_(_(_(_(_(_(_(_(_(_(_(_(_(_(_(_(_(_(_(_(_(_(_(_(_(_(_(\ _,(_(_(_(_(_(_(_(/ \_(_(_(_(_(_(_(`,_ ) `(_(_(_(_(,' ____________________________________ `._(_(_(_(,' ( \ _____________,|__|__|__|__|__|__|__|__|__|__|__|__|`._____________ / Y|__|__|__|__|__|__|__|__|__|__|__|__|__|__|__|__|__|__|__|__|__|__Y |_|_|.-----------------.|_||.-----------------.|__||.----------.||_| |__|||\ ___ __ __ /||__|| ______ ,-. | |||__||____ |bb||_|| ||__|| |()-| | | | |||_|| |____| _`-' '-||_|_|| |o\| ||__| |_|_|| ;(:)' |. |_ : ||_||| |.||.|| | --||__|||.|--'. .|||_| |__|||/_\_/____|__|_||\||__||__|-''-||_-|_.---|||__||_|___|\__|||_|| ||__|__|__|__|__|__|__|__|__|__|__|__|__|__|__|__|__|__|__|__|__|__| |_|__|__|__|__|__|__|__|__|__|__|__|__|__|__|__|__|__|__|__|__|__|_| |__||.-----------------.|__|.--------.--------.||__|.---.---.--.|_|| ||__|| ___ ,-. __ |||_||.--. /_\ [o] ||_|_|| |---|/ ||__| |_|_|||SSt| `-' | | ||_||||[]| _____ /\ ||__||| |---|/ |||_| |__||| ____ _.=._ | .| ||__||'--' )__)__( _()_|||__|| |---|/ .||_|| ||__|||~o:~|_____||__|_|||_||____(_______)|--|||_|_|||---|/\__|||__| |_|__|__|__|__|__|__|__|__|__|__|__|__|__|__|__|__|__|__|__|__|__|_| |__|__|__|__|__|__|__|__|__|__|__|__|__|__|__|__|__|__|__|__|__|__|| ||__|.-----------------.|__|.-----------------.||__|.---.---.--.|__| |_|_|| _ __ _ __ |||_|| ,---. __ _____||_|_|| |---|/ |||_| |__||||O\|)(|/O| | | ||_|||_`---' |OO||-|-|-||__||| |---|/ ||_|| || ||',-'--'-.' | .| || || ),---.|||||-|-|-||| || |---|/ .|| |

Neighborhood, 2001

__1__ __2__ __3__ __4__ __5__ __6__ \_._/ \_._/ \_._/ \_._/ \_._/ \_._/ ( ^ ) ( ^ ) ( ^ ) ( ^ ) ( ^ ) ( ^ ) `='|\. `='|\. `='|\. `='|\. `='|\. `='|\. / | / | / | / | / | / | (/ | _,_/ | _,_/ | _,_/ | _,_/ | _,_/ | |__, |(__|__, |(__|__, |(__|__, |(__|__, |(__|__, | | | | | | | | | | | | | | | | | | | | | | | | | /___| /___| /___| /___| /___| /___| etc... === === === === === ===

Miscellaneous, 1999

"When I was a kid I thought the only way to become a great artist was to have a short and wretched life. Just like Gericault or Modigliani. Now I'd rather do like Rembrandt and Michelangelo: live longer and die in complete misery". \ Loser! `, / ___ # /_,/\ |/ ? /" ( | , )\ .Y___ / /__/\ \____ \(__ ,/ \_/ \ / (\ |/| / < _____ _> \ |. ||\ -|.|--/___/ ,___/___\------'-----' '-' |\/

No Title, 2001

___ ,' _ `. \,' ) ) ,' / ,; ,'`-. // / `-. // / `-. // / `. ______ // / `. ,'. . .`. // / `. /,`.`-.`.`.`. // / `. ).,- '.\')\\: :: : `. (a /a) :';)`)| ;; ; `. )' |'|\/'| :: : /_, |'|\ || ;; ; )__ |'|/`.| :: : \_ :'|,'|| || | `-.' :| \| _.._-_-,______|| |______________________________,',',-,(\ /||_,'`. `-...__.----,.||__|_----------------'''''''''''''`..-.(,'))\||,' >-'' _ `._ ____ ____________________..`'`-`/_-|| `. /.`--'' ` `' `.. `.`. `. `. `. `||. (_`_...-' ` : . \ \ . \ ) `. |' \ \_`__..'. ____; . : : ) |\ \ / : \ :--...-'''`._/_.___; ; ) ; ) / | | | || \ / / _,' / __....---| : :: `-'-'-...--'...--''`-';'/ | : :: ,' : : : :: ,' |\ |\ : :: ,' | \ | ; `. : :: ,' : \ ; \ ` \ \\ ,' ( `-' ( \ \\ ,' / /|` \ \\ ,-' : `.__,' | ) \ \\ ,-' | ( \ \\ ,-' ; |\ \ \\,-' \ ( \ `. `:. ;\ _, / \ `. \\ | \ \ \ /`._) )) | ` : , ` `.___,' | _,' |

Beleg CĂşthalion, 2000

________________________________________________________ | __ | | | \ T H E | | |__/ _ ___ _ _ | | | \|_ /\ | | |_(_ | | |__/|_/``\ | |_|_ _) | | ,--. ' | | __: ) __ _ ,-. | | ,' | ,-< \ \/,-,( ||.',-..-.-.,-, | | `. |( ) |_|\/_ |||| \(_)\_\_\/ | | ,--: | | | ,,-. .. SONGTRACK _ | | `. | | | | ``. .. .|'-.,-.-. ,-.,-.'',-.,-, | | _;.'.'.'.'. `.))\|_||(_/|`|/|(_)||/ |||\|\/_ | | ,'--'-'-'-'-'--. | | | ,'\_||_/`. .-\ | | | :-/ ,--. \-: | `._____ | |_; |:_:,--.:_:| `.______| `---------,--. | | _________________,' : | |_______________,',-. ,-. ,-. ,-. _,' | | __ __ __ __ `-' `-' `-' `-' ,' | | (__)(__)(__)(__) ; | | .---. / | | ______________ | | ,' | | ) ) ; ; ,' | |_____/____________ /__ /___;-' | |________________________________________________________|

The Beatles - Yellow Submarine, 2002

#################### ,)--. "Something told me today might not #################### __/____|__ be my lucky day at all" #################### = = "/ | _____ ____ _ #################### | D | / __ | / __ \ / ########## ######## |__- | | | | | | | |__| | | | ######### ####### |, |\,____ | \ \_| | | __ | > ########## ######## ,-/|__/ / . | / / | | | | | | | | ########## ######### .' \\/_/ , \ | |_| |_| |_| |_| \_ ####### ####### \\ // _ | \ __/ | ###### # ####### >/ \) ' \_ \ \,/ | ###### ## ########__ _/ \ ) </ >___ _|_ __| ####### ######'---/__o> | / /----------| ###### #######| | \| o_-__O/ | ###### #######| ---/ /| / ) | ####### #######| /___\/_______/ | ######## #######| /'''/ / | ######## ########| / / / | ######## #########| / / / | ######## ##########| |(_ / , | ####### ##########| \ |(_ > | | \ | \ | | )( | | | \_\, | | |_______|___/\___________________ | |+ \/ | /+ \ | /+ / | /_. ' |_____________________

No Title, 2000

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Big Girl, 2001

Life is short but people still get bored. \ ____ , ,)\\ /< c \o__/(_____ _)|/ ,/\_/\ '\ ('/___/ \$/ \ \\) \/ : < \ |/____| | / / | : /__o/ |__'__/(_| \ )_ /|\ YYAAaaaawwwnnn... ____ _ _)\\ /< c \_)_/(_____ |//_ ,/\_/\ '\ \ )___/ \$/ \ \\) \/ : < \ |/____| | / / | : /__o/ |__'__/(_| \ )_ /|\

thought: Jules Renard, 2000

! /!\ * ha 7!~ \ ha /!!!\ \,^^%--7!!!~ < \ ha /!!!!!\ _/> 7!!!!!~ __> -\||/. /!!!!!!!\ _\_ \^^ __________/\-'`-\\______________[___]__[___]_\____________________________________________ | // _ _\< || | | / e e | [] David and I and the other regulars in the | | ( J ) () () || () () ascii art chat would like to invite all | | | ._. | || || || || || of you to a Christmas party in the chat. | | .'`.___.'-._ `OOO==[]=OOO' | | .-' `. ==##### === A___A | | , `. |#### _\_:| _ _ ( @ @ ) | | , \ |##=-[*]*]| | | ___ (_) _ __ \_^_/ | | / \ |#( _\:| _ | | / _ \ | || '_ \ | | / ; | # \__|:| | |_| || (_) || || | | | .-""""-. | | / | | `.| \___/ | \___/ \___/ |_||_| |_| /_ \ | | ;-. | | .' \# #/ OO | /|_______| | | | `"Y Y`-"| | ####| _ _ .||. |/(_________) | | `, /| |\ `, | ####| | |_ | |__ dd_ (_)|| . . || | | : || | \ | | ###| | __|| '_ \ / _ \ || ^ || | | | || | ) | | ###| c | |_ | | | || __/ |||\ = /||| | | : || | / / | ' | /|\ ~ ~_| |_| \___| |||||`-'||||| | | \ \| | | ; ( :###:| _/_\ / - - \ _ _ |.--' `--.| | | ) ,|Y-.__ _.--""| /// |:(U):|| _ \ /|| ` || __ | |_ _ _ | |/ `---' \ | | \\\\| """"" ,.... |::|::|| |_) | | \-/ |'__|| __|| | | || / ( ) \ | | | /'''''\ |::|::|| __/|_________ | |_\\|//| ||( /`.__.__.'\ ) | | , . ( o o ) |: ): )|_| / = \ \__/ \, |(_\_\| , |/_/ | | \ | \ --- / |::|::| / | VZ \ { ^ ^ }/ )/-..___..-\( | | | | | `-+-' | | | | | | \/ \ - / \/ | | | | \ | ; | `, \ \ | | | 8o | | o8 \ | / | | | | : .'. `oooOOoo | | | \\/ ^ \// \ | / | | \ /\ .-' | \ | | | \ / ( )|( |\ ____ | | "oo \ | \ .'| | When: | | | | | / | | | Q | | | /#\ \ _| \_ / \ From today and lasting to the end of the year. | | | l/Ml | | | " # " / / \ \ / \ Where: | | | | | | | | |,| W `| | | / \ / / \ .' `http://www.ludd.luth.se/~vk/cgi/asciichat/party/___|__| | [\ | | |_=___=__...o________/...____\________________/___|___\______/__|__\_______(__)_(_| | l '|_| |/

The invitation card for the Christmas party, 2001

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No Title, 2000

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Cafe Terrace (Van Gogh), 2001

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The Scream, 1998

____________________________________ |.----------------------------------.| || __________________________ || || /-.--.---.---..---.---.--.-\ || || | | | | ;: | | | | || || | | | ; / \ : | | | || || | | ; / / \ \ : | | || || | | / ,' ,' `. `. \ | | || || | ;/,'_,' `._`.\: | || || \/,',' /\/\ `.`.\/ || || (=;' / \ `:=) || || /|\ >. ,< /|\ || || |||,-._ _ / \ _.-._ ||| || || ||| , `-' / | , `-'||| || || |||______,_\_ _;_____,__||| || || |[__________ )/___________]| || || `'||.-------((-_-------.||'' || || ||| [_\\__] ||| || || |||_________`'_ _____||| || || ||--------------------|| || || || || || ||_____||____________________||_____|| || || || || ||=====[]====================[]=====|| ||__________________________________|| '------------------------------------'

No Title, 2001

.|||||. ||||||||| || . . || || ^ || |||\ = /||| |||||`-'||||| |.--' `--.| / \ / ( . ) ( . ) \ ( /`-' `-'\ ) \ \| . |/ / )/ \( | \%/ | \ | / \ | / ( )|( ) / | \ | | | \ | / ) | ( mmo^omm

.|||||. .|||||||. .|||||||. .| | | |. ||||||||| ||||||||||| ||||||||||| | || | | || ||<.> <.>|| ||<@> <->|| |||: - - :||| | |: - - :| | || ' || || " || |||:` ^ ';||| |||:` ^ ';||| |||\ = /||| |||\ = /||| |||||: - ;||||| | | | :-; | | | |||||`-'||||| |||||`---'||||| ||||| `-' ||||| | | `-' | | ||.-.' `.-.|| |||.-.' `.-.||| ||| _.' `._ ||| ^ ^ _.' `._ ^ ^ / _| |_ \ / . . \ .'. .`. .'. .`. | (__,^.__) | | (@ ,^. @) | |||:_._;||| ||: . ;|| | | | | | ) ( | ||| ||| | \- -/ | \ ( , ) / \ ; . : / `.| . |,' ` \ . / ' /..___..\ / \ ,' `. / \ |._ _.| | | f j J \ / L \ "\_/" / \ \#/ / \ \%/ / \ \%/ / \ | / \ | / \ | / L | J ( )|( ) ( )|( ) \ | / J | L / | \ / | \ ( | ) ( | ) | | | | | | | | | ||| \ | / \ | / | | | ||| ) | ( ) | ( ; | : /|\ mmoômm mmoômm mmoômm mmoômm

Veronica Shrinking, 2000

_________________________________________________________________________________ |`-. ._.---._. ,-'| | ._`-. |__|__|_| ,-' | | |::..`.-------.--------.--------.---o.=_=,o-------.--------.--------.---.' ,-'|/| | |`'::||---.---'----.---'----.---'---,'`-'`.--.----'----.---'----.---'---|.'-.-.O| | |__|:||___|:.______|:.______|._____: \ / :_|________.|______.:|______.||::| | | |- .--_.| | | |,=: |___| | | | | ||::| | | |:||_|__\_._____|:.______|:.______,'-'-:---| |_ ___.|______.:|______.:|___||::| | | |:O| :/o{ | | | _||__||---|:__|__ | | ||::| | | |:|| `,."___|:.______|._______|_| ,'>._.<`. |_____.|______.:|______.||::| | | |:|| // \ | | | | |: | | | | | | ||::| | | |:|| \\ : ______|:.______|._____|___| |:.-._| |___|_|______.:|______.:|___||::| | | |:|| \)' | | ____|_|___| |:|?|_| |___|______| | ||::| | | |:|| | |___|:.______|:._/ |__,'_|.___,'_|.__| \______.:|_____.:| `.:.|_| |:O| |_| .:/ |___________________| \:. `. `::O| |:|| |_`. .::|_-_-_-_-_-. .-_-_-_-_-_|::. _________ `. '`| |','_____________________________`'_____________''________________`.___,'/_`.__`._| | Gehe zu | | Gehe zu Oeffne Schliesse Drueck Zieh an | | Was ist Benutze Schalt ein Zieh Nimm ab | | Gib Nimm Schalt aus Lies Wechsle | | Kristallscherbe /\ Haarnadel-Schild | |___Whiskey_______________________________________________________________________|

Zak McKracken, 1999

\ | ,'

~v~ ~v~ ~v~

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Yet another aaa diddle, 2001

.-__ .-' )`-__ ) \.-. .-.-. ) / \ | / \ ( | _ / ( -. \__U \ \ ( ) U\ | / `' `-._| .-._.' | > -< | | | _____________ | | | | | | = = | | | | _________.-' "-_____________| |________________________

.-__ .-' )`-__ ) \.-. .-.-. ) / \ | / \ ( | _ / ( -. \__U \ \ ( ) U\ | / _ `' `-._| .-._.' ( ) | > .-. -< | ) \ | | _____________ / / | | | | /_ \ | | = = / \ | | | | / \ _________.-' "-_____________| |________-' >______

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) \ / ( /

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\__U ( / .-._.' > _ | _( )__ | ___\ /___ | | | | = = | | | "-_____________| |________________________

| \ | (

-. \ ) U\ | `' `-._| | -< | | | | _________.-' \

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.-' ) .-.-.

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) \ / ( /

\__/ ( / _ .-._.' ( ) > .-. _ | ( \// | _____________ ) .| | | /_ | | = = .-' _> | | | |/|| "-_________:-__| |__________________|`-__

Lunch - Break, 2001

\.-.

) \ / ( _ / \__/C ( |: / || _ .-._.' \ ( ) > \ \ | ) \ | \ (\\ _____________ | | ) `| | | | / = = | | \ | | "-______-' \__| |________________________

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&(`)&& & && && &\/&\|& (`)|/ && && &\/(/&/&||/& /_/&_&/_& &(`)&\/&|(`)/& \/ &&& & (`) &_\_&&_\ |& |&&&/&__&_/_&_&&&&&& &| &| /&-& (`)& \&& ,~, &&&_---&--\&&|& ,~, (`) ))) && |||} ))) ((((, Y {||{ .-``-. \) \_(`) {}_}|||}_(/\ /| (( \ ||} | (/ |/` \ , -=-~'{`. / )) (| (/ `} / \| -_ -_ { \) |) -- _-

Adam and Eve, 2002

,~, ,~, ))) ))) ((((, .-``\) \_(`)__(/\ /) (( \ | (/ |/` \ / )) (| (/ / \| -_ -_ \) |) -- _-

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ASCII-Artists - Selfportraits, 1995 - 2009

The History of ASCII (Text) Art Since 1867, people have used the typewriter not only for printing manuscripts but creating works of art. In the 1890s, typewriter manufacturers and secretarial agencies organized public speed typing competitions. They also organized competitions for typewriter drawings. The earliest preserved example of typewriter art was made in 1898 by a woman named Flora Stacey. Not much is known about Flora Stacey except that she was probably a secretary. Her framed picture of a butterfly was published in the October 15th, 1898, edition of Pitman‘s Phonetic Journal. The entire rendering of this picture was created with the typewriter -- yes, even the butterfly! The butterfly is composed of brackets, hyphens, points, oblique strokes, a single asterisk, and several „o“s. The journal commented: „We think it will be generally admitted that the illustration is in the highest degree creditable to the artistic ability, skill and patience of the lady, and to the unique capabilities of the Bar-lock for this class of work. It may be noted that in competitions for typewriter drawings Miss Stacey has been extremely successful.... An outsider, or one unaccustomed to the use of the typewriter, can scarcely realise what an expenditure of time and patience is necessary in order to successfully execute one of these curious drawings. The paper has, of course, to be turned and re-turned, and twisted in a thousand different directions, and each character and letter must strike precisely in the right spot. Often, just as some particular sketch is on the point of completion, a trifling miscalculation, or the accidental depression of the wrong key, will totally ruin it, and the whole thing has to be done over again.“ This brief synopsis describes some of the negative and positive aspects of typewriter art. First of all, once a mistake is made, it generally can not be corrected. There are no delete or overwrite keys on a typewriter. Secondly, the positioning of paper can be crucial. One slip and the typewritten picture may be ruined. There are a number of techniques available to the typewriter artist that are not available to the ASCII keyboard artist. A typewriter artist can manipulate the sheet of paper in various directions and angles. The characters can be spaced in any way -- often overstriking another character or „half-spacing“ to achieve a special effect. Typewriter art offers more flexibility and variation than the computer ASCII art. However, ASCII art is much more forgiving. Typewriter art was a popular art medium in the 1950s to the 1970s. There are many wonderful examples of typewriter art found in Alan Riddell‘s book, Typewriter Art (London, 1975). Some of the images are colorized by using 39

tinted ink ribbon. Several of the images are abstract. A few of the images are portraits (Queen Elizabeth, the Duke of Edinburgh, Gandhi, Winston Churchill, and Henri Chopin). All of the pictures are superb. There is a listing of over 60 typewriter artists who have contributed to this 100+ image collection, one of whom is Vaclav Havel, President of the Czech Republic. I found the Henri Chopin portrait most clever as the image was created using only the letters of his name „henri chopin“. The background of this 1974 image repeatedly spells out „audiopoems“. The text artist is Robert Morgan. He created the image as a design for the sleeve of Henri Chopin‘s record entitled „Audiopoems“ -- Tangent Records. (anyone else remember records and record sleeves?) ( View the picture -- notice the overstriking technique that results in shading of the image -- Robert Morgan‘s „Henri Chopin“ ) Another fine example of typewriter art was posted on USENET a few years back. A reader found an article in an unnamed magazine (1960) about a man named Guillermo Mendana Olivera. The article states that Mr. Olivera was a stenographer by day in Leon, Spain, and a keyboard artist by night. He used small o‘s and x‘s and periods, dashes, and commas to create his typewriter art masterpieces. And each picture took about 70 hours to complete! Incredible! 1

1 From: The History of ASCII (Text) Art; http://www.geocities.com/SoHo/7373/history.htm Date of last change: 12. January 2003

Robert Morgan‘s „Henri Chopin“, 1974

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