A PostScript illumination utility or "application" as complex as Digital Daguerreotypes obviously owes much to a great variety of inspirations and practical sources. While I find it difficult to cover this vast area of indebtedness with either the breadth or depth appropriate, I would like at least to touch the surface. AN UNDERLYING CREDIT: Clearly Digital Daguerreotypes depends upon the fact that there is a PostScript language available for the creation of artwork, page descriptions, and general programs. Hence this incipit is a fitting and felicitous place for the appropriate acknowledgement that PostScript(R) is a Registered Trademark of Adobe Systems, Inc. SPECIAL CREDITS: Please note that Digital Daguerreotypes incorporates, with modifications, the outsidecircletext and insidecircletext routines from Adobe Systems, Inc., POSTSCRIPT LANGUAGE TUTORIAL AND COOKBOOK ("The Blue Book"), Addison-Wesley, 1985, ISBN: 0-201-10179-3, pp. 166-169; and the pathtext routine, ibid., pp. 170-173. Here I am especially grateful to Linda Gass for her work in developing the "cookbook" routines, see ibid., p. x., and to Mr. Paul Klein of Adobe Systems for his personal assistance. The KeyFind and KeyCap routines are offshoots of Ross Smith, UNDERSTANDING POSTSCRIPT: A VISUAL APPROACH, Peachpit Press, 1990, ISBN: 0-938-151-12-6, pp. 7-18 to 7-23. While Smith's volume is modestly intended as a basic introduction to the language, in fact it is also a treasury of routines and artistic creations for users of all levels and interests. The font reencoding routine RE is gratefully quoted from Adobe Systems, Inc., POSTSCRIPT LANGUAGE PROGRAM DESIGN ("The Green Book"), Addison-Wesley, 1988, ISBN: 0-201-14396-8, pp. 115-117, brought to my attention by Smith, ibid., pp. A-25 to A-27. My particular appreciation goes to Glenn Reid as author of "The Green Book," and to Smith for making its nuggets of wisdom accessible to more users. Several of the halftone screen spot functions may be found in the work of Tom Bernard of Bersearch Information Services, quoted in Steve Roth, "Real World PostScript Halftoning," in Stephen F. Roth, ed., REAL WORLD POSTSCRIPT: TOOLS AND TECHNIQUES FROM POSTSCRIPT PROFESSIONALS, Addison-Wesley, 1988, ISBN: 0-201-06663-7, p. 141 at 171-190. More generally, I would recommend both Bernard's routines and Roth's discussion to anyone interested in creating grayscale art in a PostScript language environment. -1- EQUALLY SPECIAL CREDITS: To Simon Tuckett's fine chapters in Roth, ed., REAL WORLD POSTSCRIPT, I owe many specific concepts for routines and general aesthetic precepts. See "PostScript as a Design Tool," pp. 3-16; and "A Spread from Graphic Perspective," pp. 229-261. Thus for the genesis of my MovieText routines, see ibid., pp. 255-259 (compare Figure 13.3, p. 256, with TUCKETT1.EPD in this collection); for the Button and BrassText procedures, see ibid., pp. 241-243; and for an incredible example of gradients or fountain fills coupled with extrusion, two central themes of Digital Daguerreotypes, see "Shading and Reflectance," pp. 259-261 (compare RACHTUCK.EPD). Further, Tuckett's very nice discussion and demonstration of layering and clipping paths in PostScript, ibid., pp. 7-9, doubtless helped shape my general sensibility for creating artwork and artwork routines in this wonderful language. Likewise I am immensely indebted to Herb Paynter's article in REAL WORLD POSTSCRIPT, "A PostScript Four-Color Poster," ibid., pp. 263-314 (with the poster itself represented in Plate 4 of the book, coming between Chapters 12 and 13). While Digital Daguerreotypes does not itself enter the world of color, as opposed to black/white/gray -- although the user might choose to do so with customized code -- Paynter's work is an inspiration both technical and aesthetic. Some of the gradient options offered in Digital Daguerreotypes, albeit for grayscale as opposed to color work, stem directly from Paynter's poster. Also, I would like to thank Don Lancaster for the general encouragement which his work in the area of PostScript design and programming provide, and specifically for some provocative ideas about halftone screens which may be found in "PostScript Insider Secrets," BYTE, July 1990, pp. 293-302; and some perspective techniques in "High Performance PostScript," BYTE, August 1990, pp. 297-300. On a technical level, I must express my appreciation to David A. Holzgang, UNDERSTANDING POSTSCRIPT PROGRAMMING (Second Edition), Sybex Books, 1988, ISBN: 0-89588-566-2. This volume, my first introduction to the PostScript language and essentially to the craft of programming as well, combines a sense of precision with much valuable information and also with a rye sense of humor. Also, the cover design (compare it to DIGISPIR.EPD) excited my sense of wonder about spiral text routines and about perspective routines generally. -2- Additionally, the discussion of "Text as a Clipping Path," pp. 372-375, and the "SUN" design, Figure 7.10, p. 375, made an immense impression on me as to the artistic power of the PostScript language (compare for example DKUNDIES.EPD, ARLOGO.EPD, and ARLOGO3D.EPD). Glenn Reid, THINKING IN POSTSCRIPT, Addison-Wesley, 1990, ISBN: 0-201-52372-8, provided not only much entertaining material on programming in PostScript, but a focus on "trusting the stack" which provided the crucial key to managing the generation of spiral text with a constant size. The book is additionally a great source of humor, something uniquely sustaining in an effort such as this one. Let me conclude this section by offering my very warm appreciation to Ross Smith, whose publications provide inspiring illustrations and lucid explanations of PostScript, both as an artistic medium and as a practical tool for printing a calendar or addressing an envelope. Anyone working with Digital Daguerreotypes, especially in an IBM environment, may find Smith's utilities and discussions of batch file management in LEARNING POSTSCRIPT: A VISUAL APPROACH, Peachpit Press, 1990, Appendices B and C, invaluable. His "visual page grid" routines and explanation of the Encapsulated PostScript format should be helpful for PostScript enthusiasts using any platform or operating environment. Please note specifically that I have NOT attempted to emulate or adapt Smith's stunning mandala routines: in this case, the sincerest form of homage is to encourage people to seek out the original. ARTISTIC AND TECHNICAL SOURCES In addition to people and sources focusing specifically on PostScript language programming and art creation, I am indebted to more general technical and aesthetic discussions of graphic design and illustration. One early and continuing source of information and inspiration is Deke McClelland and Craig Danuloff, DESKTOP PUBLISHING TYPE & GRAPHICS, Harcourt Brace Jovanovich, 1987, ISBN: 0-15-625298-8. Anyone familiar with this work will see how Digital Daguerreotypes draws on many of the type and graphics effects described in these pages; one of my favorites is the "Kabuki" announcement on p. 17. The "Brass Plate" logo at p. 263 inspired some "fractional gradient" controls in Digital Daguerreotypes (see DIGILOGO.EPD). -3- Another work which played a critical role in shaping my awareness of 3-D design techniques is Diane Burns, S. Venit, and David Smith, EXPERT ADVISOR: ADOBE ILLUSTRATOR '88, ISBN: 0-201-14397-6. The sections on such topics as perspective grids (pp. 124-125), polygons (pp. 214-215), stars (pp. 222-229), coils (pp. 230-231), and 3-D polygon shapes (pp. 232-239) led me to emulate the Illustrator 88 concepts discussed directly in PostScript. The demonstration of the Illustrator "Blend" tool for creating a highlighted sphere, ibid., pp. 242-245, led directly to my experimentation with the less powerful Blend routines available in Digital Daguerreotypes. In fact, I have not yet figured out how, in PostScript, to implement a true "shape blending" routine: but the demonstration of Burns, Venit, and Smith certainly captured my imagination when it comes to 3-D graphics. Another application which I myself have not seen or used -- SmartArt (originally developed by Emerald City Software, and now a product of Adobe Systems) -- played an immense role in shaping the development of Digital Daguerreotypes. Looking at advertisements for SmartArt, I wondered, "How do they do that?" -- and set about seeking the PostScript code to do so. While I am in the curious position of knowing SmartArt only by its advertisements and reviews, I must freely confess that many Digital Daguerreotypes routines are direct emulations of advertised SmartArt effects: shadows; MovieText; RingText; DistanceText; Neon; extrusions (or "fades"); and various stars, polygons, and polyhedra (including the Tetrahedron, Pyramid, and Dodecahedron routines). Of course, this is not to say that in my quest to emulate SmartArt, I did not have lots of assistance from PostScript designers such as Simon Tuckett (e.g. for the MovieText principle, and also for the BrassText routine which may be similar to "Neapolitan" text in SmartArt). I would also like to thank Enabling Technologies Inc. for its advertisements in the year 1989 for its "Clip3D" art collection and its ZING graphics environment for Windows. These pieces also drew my attention to 3-D design and perspective. Specifically, compare the advertisement for ZING in PERSONAL PUBLISHING, October 1989, p. 5, with the "Stop War" design in POLYSMP2.EPD. Also, I am indebted to LaserMaster Corporation advertisements, such as the one in PERSONAL PUBLISHING, October 1989, p. 1, for the design which prompted the Reverse feature in Digital Daguerreotypes (see REVERSE.EPD). -4- Finally, I would like to express appreciation to two books focusing on aesthetic issues related to typography and computer art. The first, Michael Gosney, John Odam, and Jim Schmal, THE GRAY BOOK: DESIGNING IN BLACK & WHITE ON YOUR COMPUTER, Ventana Press, 1990, ISBN: 0-940087-50-2, offers a rich ensemble of grayscale art -- the central focus of Digital Daguerreotypes. Some Digital Daguerreotypes images explicitly emulate designs in this book -- for example, the Tom Gould design at p. 158 (see GOULDCIR.EPD); the "fourth dimension" design at p. 90 (TBUFFER.EPD); and the cylinder illustrations at p. 83 (CYLINDR1.EPD) and p. 84 (CYLINDR2.EPD). The second, Kimberly Elam, EXPRESSIVE TYPOGRAPHY: THE WORD AS IMAGE, Van Nostrand Reinhold, 1990, ISBN: 0-442-23356-6, is a fascinating and moving collection of typographical artwork from the 16th century to the present. Specifically, Elam's own "Film and Video" design (p. 11) provided inspiration for my less exacting RACHEL2.EPD; while Peter Megert, "White on White" (p.140) called forth my emulation in RACHEL1A.EPD and RACHEL1B.EPD. Elam not only offers fascinating concepts such as the distinction between "planar" and "dimensional" typography, but provides striking illustrations that the idea of "dimensional alphabets" and the sense of depth on a page did not suddenly begin with the advent of "desktop publishing" on personal computers, or even of phototypesetting. This is the historical perspective, in more senses than one, which Digital Daguerreotypes seeks however inadequately to illuminate. My thanks also to my mother, and to the many friends who lent me help and encouragement in this effort. Margo Schulter 6 April 1992 -5-