images

How to generate those intricate and detailed patterns.

A poster by Julian Hansen. Big (enough) version on the other side of the first jump.

This organic-looking tent (design/concept by Abeer Seikaly) provides all-weather shelter, while offering such amenities as energy/electricity (solar-powered, battery stored), "running" water (collection and distribution of water, courtesy of the tent's unique design), storage (again, as a by-product of the design), ventilation (again, the design…) and the benefit of natural light (through the controllable tent’s openings).

Its foldable nature/design and use of lightweight fabric implies ease of transport and deployment.

Oh! And it’s also easy on the eye!

The first jump has all the details, photos and schematics.

The final installment.

Greens

Green is labelled as "non-human biological substance, process". Non-human organic stuff and non-human intelligence (my interpretation).

22. Galley.

A (food) plate (viewed from above), defined by a green background. A place to eat. Seems appropriate.

23. Coffee

Coffee. Mug. Green. Check!

25. Autodoc

This is an interesting one. The easy/obvious stuff out of the way first. The (white) cross, defined by a (green) background is widely used in association with medical symbology. So nothing new there... What is really interesting here is the choice of colors. Before going any further, a definition/description of what an Autodoc is/does. It’s an automatic/automated (hence the Auto part of the name) piece of hardware that is able to diagnose/treat patients, without a fully qualified physician present. So. In a way, it’s driven by an Expert System (a form of Artificial Intelligence) or similar type of software. I think that what justifies the green (background, where the cross is “cut”) is that non-human "intelligence" ability/capability.

29A Storage / Organic (Food Stuffs)

A variation/derivation of #29 (Storage). The "something" is now green (instead of grey) so what is contained in the container is (non-human) organic.

Yellows

Yellow is defined as: "harmful, active process: molecular, (heat) atomic, chemical". Or. Simply. Yellow is bad for humans.

[15.] Exhaust

Yellow streams "flowing" (down and) outwards (more on that later), from one extremity of the "safe" (not really, in this case), (red) enclosure. Knowing that yellow means "adverse conditions for humans" than it seems a really good depiction of "Exhaust". The best part, though, is how directionality (in this case "outwards") is "hinted" implicitly without actually (directly) expressing it (through an arrow or triangle, as seen in other, previous, designs). The way the 4 flow streams are pictured can only make sense if they are "exiting" (going "outwards"), because they widen as soon as they leave the "constriction" of the container they are leaving. If, for one second, one paused and entertained the possibility that the "flow" is actually going in the other direction, it would certainly fall apart immediately in the eye of what one knows about fluid(s) behavior (and common sense). So. That small detail (almost unnoticeable) makes all the difference.

[17.] Radiation Hazard

Simple elements in this one. The enclosure is unbroken (meaning a fully pressurized area) but is fully filled with yellow (which means it is adverse to human life). To confirm that, one can see the same figure used in sign/symbol #4 (meaning a, lying down, human being) but all in black (which means "death" – or “dead”). A clear, unambiguous, "keep out" message.

[18.] High Radioactivity

This seems to have a similar meaning (in relation to the previous sign/symbol, #17), but there is, as I see it one major difference that justifies the existence of both signs/symbols. In this one, triangles appear (denoting directionality and pointing inwards) at alternating colors: yellow (hazardous to human life), and black (explicitly: "vacuum, death, hazard", all seeming to apply, in this particular case). So until now. One have: "something very bad directed inward". If one adds to this the four "holes” in the continuity of the protective enclosure (in red), than it seems to follow, logically, that the origin of the "bad stuff" is "outside" the spacecraft. And that is the difference: the origin of the "bad stuff" ("bad stuff" is an over-simplification, OC), in this case, is exogenous, while in the previous one (#17) the "origin" is either a) unknown or b) endogenous (the one I favor).

Usage of both, as examples: #17 could/would/should be used in the vicinity of fuel storage; while #18 would/could/should be used near a place with diminished (or nonexistent) shielding from space radiation.

Whites-Greys

White and grey appear as one and the same because, well, they are one and the same. Two colors were needed to create a figure-ground (or figure-background) distinction, allowing the needed details/edges/shapes/patterns to be designed (as it is impossible to paint/draw with just one color -- if it's the same as the background/canvas). With that duality justified, now for the meaning/coding. These colors represent are the normal/neutral/default state. Or. Explicitly: life supporting conditions: pressure, temperature.

[8.] Pressure Suit Locker

In the usual protective shell (the red, continuous, border) the same pressure suit (from signs/symbols #13 and #14) appears, but, this time, in an "unnatural" position (as if it is not being worn/used). This is reinforced by the lack of a red "face" (in lieu of a better designation...) where one could/should/would be (as seen in #13/#14). All of the above seems to indicate some kind of storage place for unused pressure suits. Which seems to exactly match the original design intention.

[9.] Photonic System (Fiber Optics)

A pretty straight-forward one. There is an undulating, weaving, pattern traversing the interior space, which, in hindsight, seems a simple but apt representation of a fiber optics network. The really clever design bit is (are) the broken spaces, cut in the protective spacecraft enclosure (the red layer). It seems, to me, to convey two different, and yet, concurrent ideas: 1, the fiber optics network is not confined to the interior of the spacecraft but also connects to exterior areas of the same spacecraft (which makes perfect sense, e.g. to access external sensors) and, 2, the notion of input-output with the outside, allowing from cabled communications with the exterior (which also seems not only proper, but, also, necessary).

[10.] Laser

This one is very (very) clever. There is a diamond/rhombus shape in the exact center/middle. From each vertex there is a "beam" emanating outwards that is not stopped/blocked (stoppable/blockable) by the spacecraft enclosure (in red). Another way to see it: there are 4 triangles (triangles are used in several places throughout the standard as some kind of force/effect carrier/originator, so the 4 overlapped triangles seem more probable as the original intention). The four-directions seem to hint at the multidirectional nature of the laser(beam) and the 4 holes in the protective/surrounding layer seems a dire warning to the terrible consequences of mishandling this specific piece of hardware.

All in all, it seems to be "saying": Beware! Be careful where you point this as it can be pointed anywhere and it can make terrible damage to this spacecraft".

However.

It could have been red (matching the "alertness" significance), where is grey, but, I think, the relative small size (and power) of the laser would not warrant a greater alertness level. If the (interior) laser were to be bigger and more powerful, then red (instead of grey) would, definitely, be the way to go.

[11.] Astronic System (Electronics)

This can be compared to sign/symbol #9 (Fiber Optics). This one, instead, depicts Electronics. It does so by using the complementary polarity signs (+/-) in a complementary way (the colors are reversed between them, both the sign and its background). What "connects" (I use this term loosely here) with sign/symbol #9 are also the "gaps" in the (red) enclosure. Here, I believe with the same, dual, meanings: possibility of input-output with the exterior and also the existence of electronic elements on the outside of the spacecraft.

[21.] Life Support System

This one is a bit generic (as I see it, OC). I mean. A central(ized) rectangle appears, from where multiple "channels" connect, in a distributed fashion. And. So. It seems to have a central(ized) part and it also seems to be a pervasive system... Doesn't exactly "lock" "Life Support System" as a definite and unambiguous meaning. However, if one revisits the original color-coding significance of white-grey: "life supporting conditions: pressure, temperature" for that, the (intended) result doesn't become such a stretch.

24. Bridge

A white, isosceles triangle, framed/defined/enveloped by a grey background, appearing to point upwards (and, I venture, outwards). I think there is a dual meaning here too (which has to do with location/placement, for "upwards", and also, with function, for "outwards"). Firstly, location/placement. Researching the origin of the word "Bridge": "With the arrival of paddle steamers, engineers required a platform from which they could inspect the paddle wheels and where the captain's view would not be obstructed by the paddle houses. A raised walkway, literally a bridge, connecting the paddle houses was therefore provided". A raised platform. That takes care of the "upwards" part. For the "outwards" bit. Also from the same Wikipedia entry (for "Bridge"): is the room or platform from which the ship can be commanded". If one adds to this notion what was already referred for "triangles": as a representation of a force/effect carrier/originator. Then. "A place of command, that can originate a force/effect that can impact what goes on outside". Seems a good representation of the functional aspect of a Bridge. Clever!

26. Maintenance

Two, connected, chain links. Do not exactly "scream" "maintenance" to me. However. Investigating further. There are chains in the movie (according to a trivia item – check the jumps below for a direct link to it -- in the IMDb's "Aliens" entry, chains were a point of contention between Ridley Scott -- who wanted them -- and the producers -- who didn't want them) and , maybe, just maybe, that "discussion" may have informed the "need" for such design. Having a sign/symbol depicting chains and then no chains in the movie would have been "strange" (at least). OC, this is pure speculation. Grain of salt and all that.

27. Ladderway

A ladder. Ladderway. The only thing to remark in this one is how the ladder(ways) appearing in the movie are actually fashioned after this same design (or is it the other way around? The chicken or the egg?)

28. Intercom

This one is a bit of a puzzle. So I'll use what was learned in all the other (previous) designs. Using the convention (already used) of top-down, left right, I'll start at the top-left. A grey block, ending in a triangular shape "points" right. According to the previously acquired knowledge there is something originating/going from left to right. Advancing towards down-right there is a similar block, only reversed (symmetrical), going/originating from down-right. The misalignment seems purposeful and, thus, seems to indicate that they do occur concurrently, more like alternating in time. A two-way alternating process. It's a (rather) vague depiction of inter-communication(s), but, still, an acceptable one, I think.

29. Storage / Non-Organic

The protective (red) enclosure contains another enclosure which contains something. That seems an apt/sufficient enough depiction of "Storage", to me.

30. Computer Terminal.

It. Is. A. Computer. Terminal.

Blacks

The "ominous" black represents the void of space ("vacuum"). It also signifies "death" (not a stretch, for obvious reasons) and it, also, means "hazard". These are (can be) contextual but those interchangeable meanings are pretty much closely related.

The (all) 5 "black" signs/symbols are a very interesting bunch, for various reasons.

[5.] Airlock

This one is a pretty interesting one. Contrasting with the, until now, continuous, unbroken, safe, outer (red) layer, there are several discontinuities, suggesting that such livable (pressurized) condition isn’t permanent. As there is no misalignment (or even a big gap) it seems that both states (pressurized/unpressurized, safe/unsafe) are reversible or can be alternated. This seem to imply (closed, but openable) doors. This notion seems reinforced, firstly, by the placement (if one carries here the significance of “floor”-“ceiling” seen in, for instance, sign/symbol #2) in the "walls" but also the relative size (smaller than the other 2 red border segments).

So. Until now. There are 2 "doors" in the "walls" and the space in between is equally filled/divided in black (vacuum; death; hazard) and white (environment where a human can live/survive "normally"). All of the previous already fully (and capably) defines "Airlock" (as intended). But I contend that is another fine detail in "how" both areas (black and white) are distributed. And by this I mean the shape -- triangle(s) -- and (assuming triangle/triangles) the orientation (as there are 4 possible configurations using 2 complementary right angled triangles). What I surmise is that the chosen configuration (and the equilateral complementary triangles) is no coincidence but has an underlying logic governing it.

This "conviction" rests (or depends) on one assumption. Established that the sign/symbol represents an "Airlock" then both ("wall") doors connect to the very different environments to which the "Airlock" constitutes a buffer/interface: one connects to the spacecraft itself (i.e., the pressurized zone) or better yet, "Inside", and the other gives access to outer space -- or more correctly -- to the spacecraft exterior (i.e., "outside"). With that in mind a question emerges: “which one is which?. There are two ways to go about resolving this doubt: guess (or estimate), if no context is accessible, or, see the context (in this case the other signs/symbols). As it turns out the next (#6) sign/symbol denotes (indirectly) that left is "inside" and right is "outside" (which seems to validate that top-down, left-right is the convention used throughout the standard). So, that is (are) the assumption(s): the "left door" accesses the "inside" and the "right door" accesses the "outside". With that notion in place, one can now look to what is represented between the "doors". The "division" in half means that half the time that place is pressurized and the other half is not. It follows then, that immediately adjacent to the "left door" should be an all-white ("pressurized") representation and, symmetrically, immediately adjacent to the "right door" should be an all-black ("vacuum") representation (discarding/discounting the visual white separation, which is there and in many other signs/symbols, for the sake of clarity). Extending the left white and the right black in each other directions would result in 2 blocks (rectangles) of white (left) and black (right). But. Time have to be factored in the design. Because airlocks are used to equalize pressure. This means that they go to pressurized to depressurized (decrease pressure, pressure goes down) and vice versa (increase pressure, i.e., goes up). So it makes every bit of sense to represent that descent/ascent with a slope/slant/angle (meaning, triangles). And. From left-to-right (white-to-black) descending (pressure going down) and from right-to-left (black-to-white) ascending (pressure going up). Which is exactly how it is designed. QED.

BTW, this logic would be flawed if down-up, right-left convention was the one in place here. That goes without saying, OC.

[6.] Bulkhead Door

Another interesting one. Drawing from the previous sign/symbol, there is a "door" in the middle dividing the pressurized (left) and unpressurized (right) areas. The most interesting part of this design is that the protective layer (the red border) doesn't stop at the "supporting wall" (where the "door" is). It is prolonged. This seems to heavily imply that the "door" is an interior one (not like the right one in the previous sign/symbol). An interior door is called a bulkhead door so the representation seems about right.

Plus. This is clearly also a warning sign. In a spacecraft, a closed (or locked) bulkhead door does not ensure the same level of pressurization on the other side (of that same door) and that is the somber message that this clever design is trying to impart.

[7.] Non-Pressurized Area Beyond

Several things to mention about this one. Firstly, contrasting with the previous one ,there is definitely no pressurization there (so, the door clearly gives access to a non-pressurized area). Secondly, that area seems to be inside the spacecraft (albeit the gap at the top, which seems to indicate a possibility of some part to be outside, or, even, an opening, to exist). Lastly, the "odd" thing: the orientation seems “off” (the "door" is at the bottom, until now, the "floor"/"ground"). The motivation for this, to my mind, seems to be the visual resemblance with sign/symbol #6, if the "usual" (until now) orientation were used, the two signs/symbols would, sort-of, “clash” and would not be so visually meaningful (one can view this by rotating the sign/symbol 90º ,clockwise). The changing direction seems a small price to pay to achieve a greater clarity and distinctiveness (at the small price of breaking the "normal" here).

[13.] Artificial Gravity Area, Non-Pressurized, Suit Required

This is the direct counterpart of sign/symbol #2, but for a non-pressurized area. So. The (alive) human figure is still there but fully enclosed in a pressurized suit (the "head" representing portion is clearly depicted, to confirm this). The "floor" is still there to “ground” the suit-wearing human. The quantity of "ground" (red block) seems to indicate an exterior (to the spacecraft) but there is (enough) ambiguity there (I think) to be able to signify also some internal part of the spacecraft.

The main difference between this (#13) sign/symbol (and, incidentally, the next one, #14) with the previous one (#7) is that these 2 add information about gravity (which isn't at all informed in #7). The commonality between these 3 (“blacks”, until now) is that they definitely signalize that there is no pressure/pressurization present at the signalized areas.

[14.] No Pressure/Gravity, Suit Required

This is the direct counterpart of sign/symbol #3, but for a non-pressurized area. That added to what was said for the previous sign/symbol warrant no more commentary (as it would be, mainly, redundant).

Time for the "Blues":

Blues

Blue means, simply, cold (or extreme cold).

[4.] Cryogenic Vault

Placed inside the safe and basic living (pressurized) place (in the form of the continuous red border) it now appears (depicted) an equilateral triangle "pointing" downwards (which suggests a force or effect concentrating/focusing on what lies below). As blue means "lowered thermal conditions" it can be assumed to signify that cold is applicable (or applied) to whatever is pointed by said triangle.

Near the bottom, it appears a, now, familiar figure (see Reds) that is assumed to signify “human (being)” (and an alive one, as is in red). Its relative position is new, though, as appears parallel to the "floor" (as seen previously). This can be "interpreted" as "human being lying down”. So. In short: alive human being, lying down, with cold (or extreme cold) applicable (or already applied) to her/him. All in all, a fairly apt depiction of a/the cryogenic facility.

[19.] Refrigeration

This one is a great example of parsimony and simplicity, without losing anything in effectiveness and in expressiveness. Inside the, now (again) familiar, protective outer layer (the red one) it now appears a new, also, all encompassing, layer. This time in blue. In short: lower(ed) temperature in the livable environment. Simple. Effective.

(Short) Preamble

My notes, resulting from the “pixel semiotic standard” project, follow. They are grouped by main color-coding, because it (made) makes sense to approach it this way and for the synergistic opportunities to shorten (hopefully) the necessary text, without losing/compromising the contained/intended/inherent information.

Starting with the "Reds":

Reds

Red has a dual (contextual) meaning. Firstly it means: “life, alive, living, sound (adjective)”. Secondly it signifies “alertness, warning, attention”.

[1.] Pressurized Area

This is the sign/symbol that sets the stage/tone (in a way) as it represents the basic living (and livable) space/environment/container (i.e., a/the spacecraft, as defined by the standard).

And. At the same time (and at the symbolic level), the basic shape (and template) for the remaining signs/symbols.

In one sentence. This is the basic container for (many of) the symbol(s) and, also, for the environment that is the object of the semiotic standard: the spacecraft.

The fully closed, unbroken, red enclosing border, establishes a protective bubble that appears filled with white (meaning “life supporting conditions -- pressure and temperature”). It can be equated to the inside of a livable, habitable, operational spacecraft.

It can also be seen to represent safety, a safe place, "the" safe place.

And thus. This design not the first by coincidence.

[2.] Pressurized With Artificial Gravity

Building from the previous (first, #1) sign/symbol, there's a new element here: a red stick figure (representing, undoubtedly, a living, human being, standing in the upright position, considering the circle as the head/face and the rest, by default, the body). Besides directly establishing this as a livable environment, this also establishes the existence of a “floor” and a “ceiling”, and thus, indirectly implies the existence of (artificial) gravity.

[3.] Artificial Gravity Absent

Contrasting/complementing with the previous sign/symbol (in a way, its “antonym”/”antithesis”), there is now an “ungrounded” (i.e., with no point of contact with any surface) figure (representing, again, a living human being) in a, seemingly, upside-down ("unnatural") position. The significance seems clear: no more “floor”-“ceiling”, no more up-or-down.

Without the bounding (artificial) gravity, directions become arbitrary and, thus the "strangeness" (or "awkwardness") of the depiction becomes "undone", orthodoxy returning (normalcy reestablished/restored). In other words, only by removing gravity can the “picture” be fully “accepted” by our (my) brain(s).

Plus.

By his (Ron Cobb's) own admission some of the signs/symbols were indeed semi-humorous and this one surely fits that classification as there is something almost-comical in the upside-down, ”helplessness”, configuration of the depicted figure (which'll be used once more in the standard).

[12.] Hazard/Warning

And now... For something totally different.

This is the sign/symbol with the purpose of informing/conveying that "something" or "somewhere" is dangerous or represents a generic-typed danger.

Because of that nature, it supersedes all of the remaining signs/symbols and their represented information. And because of that. It shouldn't ever be confused with any of the others (signs/symbols). And so. It has to be completely different/distinctive, from all the others. So. The "mold" (template) has to be “broken”. Thus. The shape has to be different from the all others. And has to have red, profusely (remember, the second meaning is: “alertness”).

A small tangent here. This is somewhat similar to the requisites for the STOP sign in use as a traffic/road sign in the world's roads.

And while there is not a universal STOP sign, many of its "manifestations" have an octagonal shape, while being predominantly red (with some white, also).

Drawing inspiration from that (or not), the solution here seems to have started as an all red block, to which four white blocks where added (or cut?) to "break" (differentiate) the original shape.

And. I think. Is no coincidence that the final contour resembles a highly stylized ‘X’ (for "unknown" and/or "do not" and/or "harmful" and/or…, etc.). ‘X’ is used in several symbolic systems to signal "danger", "caution" and "forbidden" so, to my mind, that has probably informed the final design of this sign/symbol.

Oh! And there are also 8 "sides" (counting the alternating white-red outside blocks). In a “special” way, octagonal, too.

[16.] Area Shielded From Radiation

This one is a no brainer. It's a derivation from sign/symbol #2. The bulkier/"reinforced" enclosure (outside red) implies greater shielding/armor/protection from external/exogenous/extraneous conditions/factors (one may assume, because the "human" representing figure is on the inside, where it can benefit from such protection). From that, one can venture that the external "threat" is radiation (which isn't represented, which can either attest to the effectiveness of the shielding or, it’s just a design overlook -- I heavily favor the former).

[20.] Direction / Right-Left / Up-Down

The directional sign/symbol. The arrow points the direction. The only "issue" (I mean detail) that can be mentioned here is the choice of red for the arrow. I think it falls into the "alertness" significance category, so there is (seems to be) an added/heightened level of attention attached to this/these. That seems to be the original intention. Alternatively, if one wanted to detach that "alertness" association from this symbol than the arrow head would have been grey (in lieu of red).

My admiration of/for Ron Cobb's "Semiotic Standard" (originally, concept art for the movie "Alien") and all of its virtualities led me to further/deeper explore the design and its intricacies.

More than just a trivial object/concept produced for a movie (and destined to be "consumed" -- "lost"/"buried" in the scenes' background -- and done with, once the film was finished), it resulted, instead, in a notable exercise in design, simplicity, consistency, expressiveness, coherence, ingenuity and meaning, all of it “lending” it a life beyond. It, surely, merits/warrants a closer inspection in some (all?) of these domains. Case study material.

Prompted (also) by these qualities, I've asked myself "what is the best way to go about it?". Back to basics! I revisited the original (from Cobb's book "Colorvision") and it dawn on me how/that, in a way, the artist's "process" was also there (“embedded” in the result). But one example of this is the progression: the standard set first, then the extension set, then the amendments (sign/symbol #30), ...

And. At the same time. A previous feeling of "I wish (the original) had survived with better (visual) quality" visited me. Once again.

This led me to search for renditions others could have produced. What I’ve found. A disappointment. The effort was more in “updating” and “upgrading” than in giving it a face-lift. While having nothing against that, per se, the resulting versions were not always without changes or, even, without losing some aspect of the original. And so. Of marginal interest to me.

So. After some thought, it followed fast and logically: "I should do a rendition/version/replica myself, as a way of know (more about) it, and (partly) the process that led to it and, also, to obtain a higher quality version (visually)".

But. I knew what I didn't want as a final result: a "better" version (no! better automatically means different so... no!); a pristine, shiny, error-free, afterthought-free, and, yet, "soulless", "empty" version (in a meta-way, there is meaning also in the manner of how the original "emerged", doing away with that would be losing that level of significance).

No. "All" (or most) of it should be there (from the original) after I finished the "task".

I would not want to discard, advertently or inadvertently, any of the characteristics that helped to this design's longevity, "durability", generic nature and universality

And what about what I did want?

I proposed myself to recreate/retrace (so to speak) the original design process itself, and by doing so, trying to grasp some spark of the original creative process (if at all possible!)

There had to be (some) knowledge (gained) in going through the whole process (added to its value as a design object). That was my final motivation.

That, coupled with the fact that I could not find no “suitable” (I mean, by my POV) rendition "convinced" me to push forward.

Impressed by the set of constraints that emanated from the original, I decided to create some of my own to govern the execution of the project.

And. So.

Without further ado, here are the (self-imposed) "constraints" (better read: "opportunities") I (finally) decided to "enforce":

• To preserve the original information - More specifically: no deletions, no additions, and, only, isomorphic transformations -- if possible and/or necessary. When all else is impossible, the better (possible) approximation should be used.

• To preserve the original aspect ratio of the signs/symbols (rectangular, with sides 18-by-19 units) - Several of the renditions/versions I've had access to do not adhere to this, instead, the original rectangle "morphed" into a square. Why is this important? Because there is meaning in the orientation -- important/vital in an environment where directions can change with time. Discarding this is going against the original purpose/spirit of the design.

• To preserve meaning by color (it's Semiotics, color has meaning...) - Again. In several of the renditions I've seen, colors appeared misplaced, and, by being so, invalidate the consistency (and meaning) of the original design. The most blatant example I've seen of this is #8 the sign/symbol ("Pressure Suit Locker") that appears with red inside (which conveys/means "alive", in this case -- because it appears inside a pressure suit -- a live human/astronaut) thus effectively signifying/meaning "Place for Hanging a Pressure Suit With Someone Alive Inside" (or something like that) -- which is funny but, not at all what was intended (even if by Ron Cobb's own admission some of the original designs were semi-humorous).

• To do it with pixels - No vectors or other scalable type of design; pixel as the unit, "honoring" (in some measure), the original grid based design of R. Cobb -- even if the original design/illustration is analogic in nature. In much the same way the Ron Cobb original had the guide/constraint of the underlying grid paper, I sought a similar "challenge" by limiting myself to the structure/guidance of the basic pixel grid (digital being my medium of choice, and all).

• To preserve, as much as possible, the original angles, curves, ratios and relative measures (and other design elements) – Simply put, the offset ("error") from the original should not amount to more than 1 pixel.

--

That was the why and the how (to some extent).

The where? The final result can be checked after the first jump, below.

A final, fun, fact: no (letter) 'J' was used in the making of this work... (better still, by R. Cobb in the original work) :)

The "Semiotic Standard For All Commercial Trans-Stellar Utility Lifter And Heavy Element Transport Spacecraft" was developed for the movie "Alien" (1979) by Ron Cobb.

It provided a consistent and systematic symbolic identity for (the "Nostromo") spaceship systems and was featured heavily in the movie, contributing to the immersive nature/tone/atmosphere that set the film apart (visually and otherwise).

These iconic designs can be seen in Cobb's book, "Colorvision" (1981).

The Wikipedia disambiguation page for disambiguation:

Roger Alsing used Genetic Programming to evolve Mona Lisa from scratch, using only 50 semi-transparent polygons.

Some of the progressive evolutions are depicted below:

To dismiss/reset the annoying, less-than-friendly, Google country redirect.

Enter/type: google.com/ncr

No!

Just the Ninebot One, an electric-powered, portable, self-balancing, unicyle...