In 1972, from a distance of about 45,000 km (28,000 mi), the crew of Apollo 17 took one of the most famous photographs ever made of the Earth.
This original Blue Marble inspired later images of the Earth compiled from satellite data. In 2000, NASA data visualizers compiled an image of the western hemisphere using data from the National Oceanic and Atmospheric Administration’s GOES-8 and Advanced Very High Resolution Radiometer, and NASA and Orbital Sciences Corporation’s Sea-viewing Wide Field-of-view Sensor.
In 2002, NASA produced the Blue Marble, the most detailed true-color image of the Earth’s surface ever produced. Using data from NASA’s Terra satellite, scientists and data visualizers stitched together four months of observations of the land surface, coastal oceans, sea ice, and clouds into a seamless, photo-like mosaic of every square kilometer (.386 square mile) of our planet. In October 2005, NASA released a new version of the spectacular image collection that provides a full year’s worth of monthly observations (referred to 2004) with twice the level of detail as the original. The new collection was called:
Romeo was our most beloved cat. He died last year. Last spring we adopted a new kitten, who was lost in the middle of the Karst, where we live. We gave him the name of Romeo, again, because of its likeness to the previous Romeo. This paper model derives from the original 3D model by Xavier Abaziou, downloaded from www.thingiverse.com and subsequently modified. The model is 35 cm high and was optimized for A3 format paper (200 g/m2).
Romeo fu il nostro gatto più amato. Morì l’anno scorso. La scorsa primavera adottammo un altro gattino che si era perso nel Carso, l’area dove abitiamo. Gli abbiamo dato il nome di Romeo, di nuovo, a causa della sua somiglianza col primo Romeo. Questo modello di carta deriva dal modello 3D originale di Xavier Abaziou, scaricato dal sito www.thingiverse.com e successivamente modificato. Il modello è alto 35 cm ed è stato ottimizzato per il formato A3 e carta da 200 g/m2.
Whilst Kepler was studying the planets motion, his son-in-law Jacob Bartsch, astronomer, Wilhelm Schickard, the astronomer and professor of Oriental languages at Tübingen, and Julius Schiller(c. 1580 – 1627), a lawyer from Ausburg, together with others were planning the re-organization of the celestial system. In particular, Schiller substituted all the pagan constellations with christian subjects: zodiac became the “Cycle of Twelve Apostles”; boreal and austral emispheres were populated by characters and symbols from Old and New Testament, respectively; the Sun became Christ, and the Moon the Virgin Mary. Since the mythological tradition survived intact to present day, we can deduce that this reform did not have great success. The identification of the stars and the comparison of new observations with those of past scientists appeared unnecessarily complicated. Therefore, the astronomers of the time continued to prefer the mythological figures.
Schiller’s maps are distinguished by a good graduation of stellar magnitudes, three new stars, and several newly discovered nebulae. While some of these, seen through newly invented telescopes, have since proven to be ghosts, others proved true. The most interesting of these objects is the great nebula in Andromeda, now known as M31. This object, clearly visible to the naked eye, was not reported by Ptolemy, and it was apparently not noticed by any of the medieval or Renaissance astronomers whose work followed from his. Nor, surprisingly, was it noted by Tycho Brahe, even though he had observed a great many non-Ptolemaic stars …[from W. P. Watson, quoted in www.atlascoelestis.com].
The twelve gores for this celestial globe (250 mm diameter) were designed from two Schiller’s planispheres, edited after his death in coloured version by Andreas Cellarius in 1660, within his Harmonia Macrocosmica (pictures above from Andreas Cellarius, Harmonia Macrocosmica, ed. by TASCHEN).
Within the frame of his studies about the flight, Leonardo designed an instrument for measuring the wind intensity and direction. In the so called “thin sheet anemometer”, the wind intensity is proportional to the shift of the thin sheet, measured along a graduated scale. The wind direction is shown by the position taken by the wind vane.
In the original Leonardo’s drawing (between 1483 and 1486), on folio 675 of the Codex Atlanticus Leonardo annotates: “A misurare quanta via si vada per ora col corso di un vento. Qui bisogna un orilogio che mostri l’ore, punti e minuti” (for measuring distance traversed per hour with the force of the wind. Here a clock for showing hours, points and minutes is required).
The model, originally released in 2007, is made up with 21 pre-built parts, that can be assembled together without glue by means of the Removable Interlocking Pin System (RIPS). The complete set, inclusive of the assembling instructions, can be contained in an elegant kit box (to build).
For long time I surfed the web in searching for hi-res digital files representing celestial (and terrestrial) gores by Venetian cartographer Vincenzo Coronelli (1650-1718). The best I found was a pdf version of the “Atlas Céleste, composé d’un globe de douze pieds de circonférence, du P. Coronelli, …”, edited in Paris in 1782, at the Bibliotèque Nationale de France website. Though they have good resolution, the scans were roughly converted in B/W files, and some of them are compromised by the book binding.
My research stopped two months ago, when I met online the “Libro dei Globi”, a collection of fac-simile gores edited by Theatrum Orbis Terrarum Ltd. (Amsterdam) in 1969, from the original Coronelli’s prints published in Venice in 1701. I could not wait anymore! I bought it from Sequitur Books (USA) and now, that big book is on my desk. So, it’s time to start my new project:
The project “Remaking the Heavens” consists in a large celestial paper globe (50 cm diam.) illustrated with digitally re-colored Coronelli’s gores from the “Libro dei Globi”, edited in Venice in 1701.
The title of the project could seem too ambitious, though what I would like to do is the modern version of the past common practise of coloring the b/w prints by hand, often according to the wishes of the buyer. Obviously, being a paper model designer, the globe will be entirely made of paper, therefore the technique I will use for making it will be completely different from the classical one. And it will be a little bit different from the other globes I designed so far.
I will keep you updated on the progress of the project…
Herbert (moderator at the German paper modellers forum KARTONBAU.de) downscaled WAP to 50%. He posted three movies and some picture of his work to the German forum. The result is terrific! Consider that Herbert built a lot of tiny rivets to add 3D effects to some parts (like the gears, for example). Here, I have merged the three movies and posted some nice Herbert’s pictures. Take a look and enjoy Herbert’s amazing work!
Hello! My name is Giuseppe Civitarese (aka Pino), from Visintini, Italy. I am an oceanographer, and in my second life I am a card models builder and designer. My passion for paper modelling began in 2000, when I decided to build a paper castle for my little nephew Matteo. Later, Matteo never built any paper model. On the other hand, since then I've never abandoned this hobby. My specific interest is in designing paper automata, and terrestrial and celestial globes from digital replicas of antique maps.