REFUSAL (SMALL PACKAGE), AUGUST 1999 컴컴컴컴컴컴컴컴컴컴컴컴컴컴컴컴컴컴  INTRODUCTION  컴컴컴컴컴컴 With this release, I refuse all standards that have pre viously been established by picture artists and their so good lack of re flection and artistic sense. Pictures will always remain pictures, nothi ng else. Some say they're anti-fonts, well then I'm anti-pics, and pro-art al so, which is something picture artists definatly couldn't claim to be. T rue art will be created once people refuse all standards known nowadays. We  need to create our own standards and keep them to ourself, because a post-trad itional scene would fall in the same abyss created before. Art has no defined r ules and it has to remain that way. Art does not require talent, it requires s ome creativity! Pretty much everything has been started during the end of February to the end of March. During the month of April and the beginni ng of May, I have completed most of the pieces and then, finished everything at the beginning of July. Final corrections have been made at the beginning of August, after taking a two weeks break. Every piece has been created using TheDraw except "Equi librium I", that has been created using PabloDraw. This information fil e has been created using AcidDraw. DESCRIPTION  컴컴컴컴컴�  旼컴컴컴컴컴컴컴컴컴컴컴컴컴컴컴컴컴컴컴컴컴컴컴컴 컴컴컴컴컴컴컴컴컴컴컴컴컴컴� �01.ANS, "Equi librium I".� �02.ANS, "Untitled" .� �� �01, This piece demonstrates an certain equilibrium. We must re member that � �true equilibrium is impo ssible to reach. Colors have properties that make � �impossible the creation of any real eq uilibrium. The binary is based on the � � late work of Mondrian, before the NYC series, but trie s to go further than� �what he has don e, by using different shades of white to give the so called� �equilibrium more c redibility (stability). These different shades of whi te � �also create a better contrast with primary colors used. It has to be viewe d � �in vga, not only for a be tter understanding, but also because it uses the  � �same color technique has th e one explained in 02. � � � �02, The purpose of this piece is the creation of a rythmic pattern, with the � �use of new colors. The color technique that create s these colors is based on � �the human ey e's weakness to recognize shapes at a certain distanc e. It is� �easier for us to distinguis h colors than shapes. When standing far away to � �the piece or when viewed in  vga (suggested), colors mix together and create � �new ones, 368 to be exact. If viewed in vga, it must be at a resolution of � �320 x 200.  � 읕컴컴컴컴컴컴컴컴컴컴컴컴컴컴� 컴컴컴컴컴컴컴컴컴컴컴컴컴컴컴컴컴컴컴컴컴컴컴켸 旼컴 컴컴컴컴컴컴컴컴컴컴컴컴컴컴컴컴컴컴컴컴컴컴컴컴컴컴컴 컴컴컴컴컴컴컴컴컴컴� �03.ANS, "Salt". � �04.ANS, "Free Coke I". � �05.ANS, "Free Coke II". � �06.ANS, "Lost Paradise". � �� �03, First font  of the serie. It is somehow based on Constructivism,  though � �it strictly uses the horizont al-vertical (opposed to Suprematism). � �The superposition of blocks  creates a multiple layer piece, which has five � �of them including the negative space ( the outline of the font itself). � � Basically, the purpose was the creation of a font usin g quadrilaterals on� �different layers , so it wouldn't be like other two-layers type of fon ts � �(foreground and background).   � �� �04, Constructivist fon t using watercolor-like transparency. The purpose of  � �the use of transparency was to give s ome colors a different aspect. Instead � � of that rigid, hard and even spiritual look, the 01 loses these aspects to � �become a fr agile color, which could be destroyed by touching it.  Its� �spirituality is also subdued a lot. Same thing goes for the 08, which has  � �normally a deep, dark look; it now becomes lik e a touch of light. It should � � be viewed with ice colors.   � �� �05, Based on t he same technique as the two other pieces, this one h as been� �created to go fur ther than the previous ones. This serie needed anothe r piece� �to show the evolution  of a particular style. It could've gotten even furth er � �by using one character wi de blocks, but there was no real need in doing that. � �� �06, Instead of  being based on superposition, this one uses blocks p laced on � �a single layer. It  also uses three double lines to enhance some defined  � �places.� 읕 컴컴컴컴컴컴컴컴컴컴컴컴컴컴컴컴컴컴컴컴컴컴컴컴컴컴컴 컴컴컴컴컴컴컴컴컴컴컴� 旼컴컴컴컴컴컴컴컴컴컴컴컴컴� 컴컴컴컴컴컴컴컴컴컴컴컴컴컴컴컴컴컴컴컴컴컴컴컴커 � 07.ANS, "Equalizer".� � � �07, This one is totally based on contrasts. Shade of colors (normal type of �  �shading) would have destroyer that high contrast created when blue and white � �me et. Sam thing applies with red and white, and red and black. � � � � The contrast looks even better whe n viewed at a resolution of 320 x 200 � �and when the original background color  of the monitor (black) is really dark.� 읕컴� 컴컴컴컴컴컴컴컴컴컴컴컴컴컴컴컴컴컴컴컴컴컴컴컴컴컴컴 컴컴컴컴컴컴컴컴컴켸 旼컴컴컴컴컴컴컴컴컴컴컴컴컴컴컴 컴컴컴컴컴컴컴컴컴컴컴컴컴컴컴컴컴컴컴컴컴컴컴� � 08.ANS, "Kink".� � � �08, The purpose of this piece was  the annihilation of the background, as� � known nowadays. The foreground as been placed in the background. That way, � �there is no  real background nor foreground. I've worked more on the negative � �(positive) space than the outline of the positive (negative) space. � �� � Once again, it was an a ttempt of destruction of old standards that force � �people to have their positive space mo re developped than the negative one. � � � � When drawing a figurative piece, t he remaining space that is created� �b etween foreground elements becomes a new element. When  exploited, there is � �no real backgroun d anymore. That's also what this piece is trying to s how. � 읕컴컴컴컴컴컴컴컴컴컴컴컴컴컴컴컴컴� 컴컴컴컴컴컴컴컴컴컴컴컴컴컴컴컴컴컴컴컴켸 旼컴컴컴컴 컴컴컴컴컴컴컴컴컴컴컴컴컴컴컴컴컴컴컴컴컴컴컴컴컴컴� 컴컴컴컴컴컴컴커 �� �FILE_ID.DIZ , "Equilibrium II".� � � �ID, Even though this is the descr iption file of the package, I have worked � �on another equilibrium piece. This one is based on  the theories of Kandinsky,� �abstract art 's greatest theorician.� 읕컴� 컴컴컴컴컴컴컴컴컴컴컴컴컴컴컴컴컴컴컴컴컴컴컴컴컴컴컴 컴컴컴컴컴컴컴컴컴켸SAUCE00" Informations " The Night Angel Bl봠ke 19990811�#Ps