14 volume
•
0 likes•214 views
The document discusses the concept of volume in visual terms. It defines volume as the space taken up by an object or substance within an enclosed container or vessel. Volume assumes its characteristics from the arrangement of mass and form within the space. Volumes are three-dimensional, having length, width, and depth. They can be suggested two-dimensionally using drawing techniques like isometrics or perspective. Like other visual elements, volumes can carry psychological or emotional associations depending on their characteristics. The document provides several examples of different types of volumes and encourages imagining how they might feel.
Report
Share
Report
Share
Recommended
9 cognition
Cognition plays an important role in how people interpret reality differently based on their own experiences and perspectives. Cognition is the process by which people make sense of their thoughts and perceptions in order to understand the world. It involves things like comprehension, problem solving, and forming opinions based on what we sense and already know. Because our behavior is based on our interpretations rather than objective reality, understanding cognition can help explain why people can view the same situation so differently.
12a the visual elements -line -1
This document discusses visual elements, with a focus on line. It defines visual elements as properties of objects and surfaces that can be observed through sight, though they remain abstract concepts. There are six principal visual elements: point, line, shape, volume, color, and texture. Line is examined in depth, noting that it directs vision, provides structure and underpinning, and has characteristics like being straight, curved, thick, or thin. Lines are also used for systems of notation like letters, maps, music, and schematics. Finally, lines can form patterns.
10 visual ambiguities
Gestalt theory claims that there are two types of problem solving: reproductive, which draws on past experiences, and productive, which involves insight and restructuring the problem. Reproductive problem solving can hinder finding a solution because people may fixate on known aspects of a problem and be unable to see novel interpretations that could lead to a solution. The whole is different than the sum of its parts according to Gestalt theory.
13a color memory
The document provides several lists of numbers and asks the reader to remember the values and their positions. It includes 5 lists of numbers ranging from 5 to 10 random digits and asks if the reader can recall the numbers and colors or their positions on subsequent pages, though no following pages are present. The purpose seems to be testing the reader's short-term memory for random numerical or color-based information.
12 the visual elements -line
This document discusses the visual element of line. It defines line as an edge, contour, path, or directional signal that directs our vision. Line is important for defining and describing the visible world.
There are several characteristics of lines. Lines can be straight, curved, thick, thin, solid, broken, and have various surface qualities. Lines are also used for systems of notation like letters, maps, music, and barcodes. Lines can form patterns, create the illusion of dimension and movement, and indicate style, age, and mood. Overall, line is a powerful visual element for expression that conveys ideas, attitudes, and psychological meanings.
Green 2d 02_line
Three types of lines are described in the document: descriptive, implied, and expressive lines. Descriptive lines help define shapes and include outlines, contour lines, and hatching. Implied lines suggest edges rather than clearly defining them, through techniques like changes in texture, color or value. Expressive lines convey emotional meaning and messages from the artist about how they want the artwork to make the viewer feel. The document also discusses figure/ground relationships and how lines can create positive and negative shapes.
11 the conceptual elements
The document discusses the conceptual elements of design that are used to visualize ideas. It begins by explaining that cognition occurs through associations between a perceptual code and stored information. There are five conceptual elements: point, line, plane, volume, and conceptual space. A point represents position and forms a line through motion. A line has length and direction but no width or height. A plane is bounded by lines and has length and width. A volume is bounded by planes and has length, width and height. These conceptual elements are imagined and used to represent ideas through visualization in design.
Analysing an artists work
The document provides guidance on analysing an artist's work by studying the formal elements, context, content, and mood of their artwork. It outlines key questions to consider under each category to help structure writing and understand the piece. These include examining the medium, colors, shapes, techniques, historical context, subject, message, and feelings evoked. The document also provides tips for annotating analyses and using proper vocabulary.
Recommended
9 cognition
Cognition plays an important role in how people interpret reality differently based on their own experiences and perspectives. Cognition is the process by which people make sense of their thoughts and perceptions in order to understand the world. It involves things like comprehension, problem solving, and forming opinions based on what we sense and already know. Because our behavior is based on our interpretations rather than objective reality, understanding cognition can help explain why people can view the same situation so differently.
12a the visual elements -line -1
This document discusses visual elements, with a focus on line. It defines visual elements as properties of objects and surfaces that can be observed through sight, though they remain abstract concepts. There are six principal visual elements: point, line, shape, volume, color, and texture. Line is examined in depth, noting that it directs vision, provides structure and underpinning, and has characteristics like being straight, curved, thick, or thin. Lines are also used for systems of notation like letters, maps, music, and schematics. Finally, lines can form patterns.
10 visual ambiguities
Gestalt theory claims that there are two types of problem solving: reproductive, which draws on past experiences, and productive, which involves insight and restructuring the problem. Reproductive problem solving can hinder finding a solution because people may fixate on known aspects of a problem and be unable to see novel interpretations that could lead to a solution. The whole is different than the sum of its parts according to Gestalt theory.
13a color memory
The document provides several lists of numbers and asks the reader to remember the values and their positions. It includes 5 lists of numbers ranging from 5 to 10 random digits and asks if the reader can recall the numbers and colors or their positions on subsequent pages, though no following pages are present. The purpose seems to be testing the reader's short-term memory for random numerical or color-based information.
12 the visual elements -line
This document discusses the visual element of line. It defines line as an edge, contour, path, or directional signal that directs our vision. Line is important for defining and describing the visible world.
There are several characteristics of lines. Lines can be straight, curved, thick, thin, solid, broken, and have various surface qualities. Lines are also used for systems of notation like letters, maps, music, and barcodes. Lines can form patterns, create the illusion of dimension and movement, and indicate style, age, and mood. Overall, line is a powerful visual element for expression that conveys ideas, attitudes, and psychological meanings.
Green 2d 02_line
Three types of lines are described in the document: descriptive, implied, and expressive lines. Descriptive lines help define shapes and include outlines, contour lines, and hatching. Implied lines suggest edges rather than clearly defining them, through techniques like changes in texture, color or value. Expressive lines convey emotional meaning and messages from the artist about how they want the artwork to make the viewer feel. The document also discusses figure/ground relationships and how lines can create positive and negative shapes.
11 the conceptual elements
The document discusses the conceptual elements of design that are used to visualize ideas. It begins by explaining that cognition occurs through associations between a perceptual code and stored information. There are five conceptual elements: point, line, plane, volume, and conceptual space. A point represents position and forms a line through motion. A line has length and direction but no width or height. A plane is bounded by lines and has length and width. A volume is bounded by planes and has length, width and height. These conceptual elements are imagined and used to represent ideas through visualization in design.
Analysing an artists work
The document provides guidance on analysing an artist's work by studying the formal elements, context, content, and mood of their artwork. It outlines key questions to consider under each category to help structure writing and understand the piece. These include examining the medium, colors, shapes, techniques, historical context, subject, message, and feelings evoked. The document also provides tips for annotating analyses and using proper vocabulary.
Elements&Principles Of Interior Design
The document discusses various elements of design including space, line, form, texture, and principles of design such as proportion, scale, balance, rhythm, emphasis, and unity and variety. It provides examples of how these different elements and principles can be used to create specific feelings and effects in a design. For instance, large open spaces can create feelings of freedom while small spaces feel cozy, and diagonal lines convey excitement and movement.
ON PSYCHOLOGICAL SPACE
The document discusses different types of psychological space beyond perceptual and conceptual space. It defines psychological space as space-as-experienced rather than what can be objectively measured. There are three types of psychological space: 1) Oriented space which is how the body experiences physical space. 2) Feeling space, which is the spatial quality of one's felt psychological environment and mood. Feeling space has dimensions like expansion/contraction and surface/depth. 3) Open space, which is a formless, unconditioned dimension that underlies awareness and experience. Open space is likened to our basic nature or consciousness.
Psychology .. Perception
Perception involves interpreting and organizing sensory information to understand the world. Sensation is the initial sensory input, while perception refers to the ultimate experience after further processing. Our senses convert physical stimuli into neural signals that the brain interprets based on knowledge and experience. Without perception, the world would seem like meaningless sensory input. Gestalt psychologists studied how people perceive whole patterns and groups rather than isolated parts, following principles like proximity, similarity, continuity, and closure. Perceptual constancies allow objects to appear stable despite changes in retinal images through lightness, color, shape and size constancy. Binocular disparity and monocular depth cues help provide depth perception.
Negative Space: Gestalt Theory
Gestalt psychology from the early 20th century proposed that humans perceive visual information in organized patterns, not just as individual parts. The Gestalt principles of perception suggest that simpler visual forms are easier to understand. The key principles are closure, proximity, similarity, continuation, figure/ground, and negative space. Together, they demonstrate that the whole of an image is greater than the sum of its parts due to inherent tendencies in human visual perception.
Gestalt & single image composition for designers
This document discusses the key principles and elements of design, including how design purposefully manipulates viewers through visual cues and psychology. It outlines various gestalt principles like proximity, similarity, closure and continuity that influence how we perceive designs. The basic design elements of line, shape, color, texture and other elements are also examined. Overall, the document provides an in-depth overview of design fundamentals and how visual communication works on a psychological level.
Art fundamentals ch04 shape 18 11-2017
This document provides an overview of shape in art, including definitions and terminology. It begins by defining key shape vocabulary like actual, amorphous, biomorphic, cubism, curvilinear, decorative, equivocal space, geometric, implied, kinetic art, mass, nonrepresentational, objective, perspective, planar, plane, plastic, rectilinear, subjective, surrealism, two-dimensional, three-dimensional, and volume. It then discusses the introduction to shape, definition of shape, use of shapes, shape dimensions including two-dimensional and three-dimensional illusions, and the relationship between shape and design principles.
The mark theory
The document introduces the concept of space. It defines space as the invisible dimension that matter occupies, whether solid, liquid, or gas. Space has three dimensions - length, width, and height. While space seems empty, it is not truly empty. Space holds objects and matter within its dimensions, even something like a ballet dancer spinning quickly without falling. Space itself is composed of atoms, just like all matter.
Tema 4
Artists use various techniques to create the illusion of depth and space on a flat surface, including changing object size with largest on bottom, overlapping objects, intersecting shapes, applying color and form contrasts, and using linear perspective with vanishing points. Light is necessary to see volume and identify forms, and lighting can change a subject's perceived character. Shadows and chiaroscuro techniques use light and dark contrasts to materialize three dimensions. Still lifes depict non-animated objects like food.
Interior design - space & emphasis
Student presentation on one element (space) and one (emphasis/focus) principle with respect to Interior Designing.
Slideshow2
Form and shape can be described in two or three dimensions. Two-dimensional forms have width and height, while three-dimensional shapes also have depth. Forms can also be categorized as organic or geometric. Organic forms are irregular and asymmetrical, often occurring naturally, while geometric forms correspond to regular shapes like squares and circles. Two-dimensional forms use techniques like line, value, hue, texture, and negative space to create the illusion of three-dimensional shapes and spaces.
3d art
This document discusses the art of the third dimension. It begins by defining key terms related to three-dimensional art such as sculpture, mass, volume, and form. It describes various sculptural techniques like subtraction, manipulation, and addition. It then discusses different types of three-dimensional art including sculpture, architecture, metalwork, glass design, ceramics, fiberwork, and product design. The document emphasizes that three-dimensional art allows for a greater sense of reality and physical impact compared to two-dimensional works. It stresses the importance of directly observing three-dimensional works to fully appreciate and understand them.
Pile Chapter 3 Design Basics Ym
This document discusses various design basics and elements that interior designers consider when planning spaces. It covers building structure, functional planning, spatial relationships, lighting, color, texture, and other factors. It then discusses basic design principles like line, form, space, balance, and harmony. Specific elements of design are outlined like point, line, planes, and three-dimensional forms. Concepts involving size, scale, proportion, harmony and contrast are also defined. The goal is to weave all these elements together to create a cohesive whole that is pleasing to human perception.
Stuart Hall - Representation Theory
This document discusses representation and how it connects meaning and language to culture. It introduces three approaches to representation - reflective, intentional, and constructionist. Most of the chapter will explore the constructionist approach using semiotic and discursive models. Representation involves the production of meaning through language. It is the link between concepts in our minds and language that allows us to refer to and communicate about the real world or imaginary worlds.
Stuart Hall Representation
This document discusses representation and how meaning is produced through language. It introduces three approaches to representation - reflective, intentional, and constructionist. Most of the chapter explores the constructionist approach, which views meaning as constructed through language rather than simply reflecting or intentionally expressing preexisting meanings. It examines two constructionist models - the semiotic approach influenced by Saussure that views meaning as produced through systems of signs, and the discursive approach of Foucault that sees meaning shaped by discourses. The key point is that representation connects concepts and language to culture by producing meaning, allowing us to think about and communicate ideas.
Visual Communication Design Theories
This document discusses various visual communication concepts including the difference between content and form, industry-specific design rules and guidelines, the elements of design such as line, shape, space, and color, as well as principles of design like pattern, contrast, proportion, and unity. It also covers Gestalt laws of perceptual organization which influence how people perceive and interpret visual information.
Fat elightingguide
The document provides guidance on the process of stage lighting design. It outlines the key steps a lighting designer would follow, including: 1) Analyzing the script to understand technical requirements and creative vision; 2) Consulting with the director and other designers to coordinate concepts; 3) Plotting lighting areas and special effects needed on a floor plan; 4) Determining the general lighting pattern and instrument placement based on the set layout and theater space. The goal is to create an environment that supports the action and communion between actors and audience through strategic use of light. Coordination with other designers and an understanding of theatrical principles are emphasized.
Habits that block creativity
1) Habits and thought patterns developed over time can block creativity by making us rigid in our thinking and less open to new ideas. Our tendency is to rely on what is known and familiar rather than exploring unfamiliar or unknown options.
2) As we gain experience, we develop mental categories to organize information, but these categories can also prevent insight if we only try to fit new problems into existing frameworks rather than considering wholly new approaches.
3) Many common obstacles to creativity arise from social and psychological factors that discourage behaviors like asking questions, taking risks, being different from others, or maintaining an openness to uncertainty. Overcoming these blocks requires recognizing how our default ways of thinking can interfere with creativity.
Linear non linear thought
Linear thinking is straightforward and follows a direct path to solve problems, while nonlinear thinking considers alternative approaches and hidden meanings. Fuzzy logic allows for ambiguity and dealing with true meanings that are not clearly stated. The document discusses how these different thought processes - linear, nonlinear, and fuzzy logic - are used in everyday life and thinking. The author thinks nonlinearly to plan solutions but linearly to implement them, and uses fuzzy logic to understand true meanings behind ambiguous statements.
Principles of visual perception
The document discusses principles of visual perception in humans and other animals. It notes that while humans rely heavily on vision, the way we perceive the world is an active process of interpretation rather than a passive recording. Different animals perceive the world in very different ways depending on factors like the structure of their eyes, visual acuity, and the portion of the brain devoted to vision. The document also discusses how humans organize visual information through unconscious categorization in order to simplify perception and make the world more meaningful and predictable.
More Related Content
Similar to 14 volume
Elements&Principles Of Interior Design
The document discusses various elements of design including space, line, form, texture, and principles of design such as proportion, scale, balance, rhythm, emphasis, and unity and variety. It provides examples of how these different elements and principles can be used to create specific feelings and effects in a design. For instance, large open spaces can create feelings of freedom while small spaces feel cozy, and diagonal lines convey excitement and movement.
ON PSYCHOLOGICAL SPACE
The document discusses different types of psychological space beyond perceptual and conceptual space. It defines psychological space as space-as-experienced rather than what can be objectively measured. There are three types of psychological space: 1) Oriented space which is how the body experiences physical space. 2) Feeling space, which is the spatial quality of one's felt psychological environment and mood. Feeling space has dimensions like expansion/contraction and surface/depth. 3) Open space, which is a formless, unconditioned dimension that underlies awareness and experience. Open space is likened to our basic nature or consciousness.
Psychology .. Perception
Perception involves interpreting and organizing sensory information to understand the world. Sensation is the initial sensory input, while perception refers to the ultimate experience after further processing. Our senses convert physical stimuli into neural signals that the brain interprets based on knowledge and experience. Without perception, the world would seem like meaningless sensory input. Gestalt psychologists studied how people perceive whole patterns and groups rather than isolated parts, following principles like proximity, similarity, continuity, and closure. Perceptual constancies allow objects to appear stable despite changes in retinal images through lightness, color, shape and size constancy. Binocular disparity and monocular depth cues help provide depth perception.
Negative Space: Gestalt Theory
Gestalt psychology from the early 20th century proposed that humans perceive visual information in organized patterns, not just as individual parts. The Gestalt principles of perception suggest that simpler visual forms are easier to understand. The key principles are closure, proximity, similarity, continuation, figure/ground, and negative space. Together, they demonstrate that the whole of an image is greater than the sum of its parts due to inherent tendencies in human visual perception.
Gestalt & single image composition for designers
This document discusses the key principles and elements of design, including how design purposefully manipulates viewers through visual cues and psychology. It outlines various gestalt principles like proximity, similarity, closure and continuity that influence how we perceive designs. The basic design elements of line, shape, color, texture and other elements are also examined. Overall, the document provides an in-depth overview of design fundamentals and how visual communication works on a psychological level.
Art fundamentals ch04 shape 18 11-2017
This document provides an overview of shape in art, including definitions and terminology. It begins by defining key shape vocabulary like actual, amorphous, biomorphic, cubism, curvilinear, decorative, equivocal space, geometric, implied, kinetic art, mass, nonrepresentational, objective, perspective, planar, plane, plastic, rectilinear, subjective, surrealism, two-dimensional, three-dimensional, and volume. It then discusses the introduction to shape, definition of shape, use of shapes, shape dimensions including two-dimensional and three-dimensional illusions, and the relationship between shape and design principles.
The mark theory
The document introduces the concept of space. It defines space as the invisible dimension that matter occupies, whether solid, liquid, or gas. Space has three dimensions - length, width, and height. While space seems empty, it is not truly empty. Space holds objects and matter within its dimensions, even something like a ballet dancer spinning quickly without falling. Space itself is composed of atoms, just like all matter.
Tema 4
Artists use various techniques to create the illusion of depth and space on a flat surface, including changing object size with largest on bottom, overlapping objects, intersecting shapes, applying color and form contrasts, and using linear perspective with vanishing points. Light is necessary to see volume and identify forms, and lighting can change a subject's perceived character. Shadows and chiaroscuro techniques use light and dark contrasts to materialize three dimensions. Still lifes depict non-animated objects like food.
Interior design - space & emphasis
Student presentation on one element (space) and one (emphasis/focus) principle with respect to Interior Designing.
Slideshow2
Form and shape can be described in two or three dimensions. Two-dimensional forms have width and height, while three-dimensional shapes also have depth. Forms can also be categorized as organic or geometric. Organic forms are irregular and asymmetrical, often occurring naturally, while geometric forms correspond to regular shapes like squares and circles. Two-dimensional forms use techniques like line, value, hue, texture, and negative space to create the illusion of three-dimensional shapes and spaces.
3d art
This document discusses the art of the third dimension. It begins by defining key terms related to three-dimensional art such as sculpture, mass, volume, and form. It describes various sculptural techniques like subtraction, manipulation, and addition. It then discusses different types of three-dimensional art including sculpture, architecture, metalwork, glass design, ceramics, fiberwork, and product design. The document emphasizes that three-dimensional art allows for a greater sense of reality and physical impact compared to two-dimensional works. It stresses the importance of directly observing three-dimensional works to fully appreciate and understand them.
Pile Chapter 3 Design Basics Ym
This document discusses various design basics and elements that interior designers consider when planning spaces. It covers building structure, functional planning, spatial relationships, lighting, color, texture, and other factors. It then discusses basic design principles like line, form, space, balance, and harmony. Specific elements of design are outlined like point, line, planes, and three-dimensional forms. Concepts involving size, scale, proportion, harmony and contrast are also defined. The goal is to weave all these elements together to create a cohesive whole that is pleasing to human perception.
Stuart Hall - Representation Theory
This document discusses representation and how it connects meaning and language to culture. It introduces three approaches to representation - reflective, intentional, and constructionist. Most of the chapter will explore the constructionist approach using semiotic and discursive models. Representation involves the production of meaning through language. It is the link between concepts in our minds and language that allows us to refer to and communicate about the real world or imaginary worlds.
Stuart Hall Representation
This document discusses representation and how meaning is produced through language. It introduces three approaches to representation - reflective, intentional, and constructionist. Most of the chapter explores the constructionist approach, which views meaning as constructed through language rather than simply reflecting or intentionally expressing preexisting meanings. It examines two constructionist models - the semiotic approach influenced by Saussure that views meaning as produced through systems of signs, and the discursive approach of Foucault that sees meaning shaped by discourses. The key point is that representation connects concepts and language to culture by producing meaning, allowing us to think about and communicate ideas.
Visual Communication Design Theories
This document discusses various visual communication concepts including the difference between content and form, industry-specific design rules and guidelines, the elements of design such as line, shape, space, and color, as well as principles of design like pattern, contrast, proportion, and unity. It also covers Gestalt laws of perceptual organization which influence how people perceive and interpret visual information.
Similar to 14 volume (15)
Gestalt & single image composition for designers
Gestalt & single image composition for designers
More from ScenicProps Design
Fat elightingguide
The document provides guidance on the process of stage lighting design. It outlines the key steps a lighting designer would follow, including: 1) Analyzing the script to understand technical requirements and creative vision; 2) Consulting with the director and other designers to coordinate concepts; 3) Plotting lighting areas and special effects needed on a floor plan; 4) Determining the general lighting pattern and instrument placement based on the set layout and theater space. The goal is to create an environment that supports the action and communion between actors and audience through strategic use of light. Coordination with other designers and an understanding of theatrical principles are emphasized.
Habits that block creativity
1) Habits and thought patterns developed over time can block creativity by making us rigid in our thinking and less open to new ideas. Our tendency is to rely on what is known and familiar rather than exploring unfamiliar or unknown options.
2) As we gain experience, we develop mental categories to organize information, but these categories can also prevent insight if we only try to fit new problems into existing frameworks rather than considering wholly new approaches.
3) Many common obstacles to creativity arise from social and psychological factors that discourage behaviors like asking questions, taking risks, being different from others, or maintaining an openness to uncertainty. Overcoming these blocks requires recognizing how our default ways of thinking can interfere with creativity.
Linear non linear thought
Linear thinking is straightforward and follows a direct path to solve problems, while nonlinear thinking considers alternative approaches and hidden meanings. Fuzzy logic allows for ambiguity and dealing with true meanings that are not clearly stated. The document discusses how these different thought processes - linear, nonlinear, and fuzzy logic - are used in everyday life and thinking. The author thinks nonlinearly to plan solutions but linearly to implement them, and uses fuzzy logic to understand true meanings behind ambiguous statements.
Principles of visual perception
The document discusses principles of visual perception in humans and other animals. It notes that while humans rely heavily on vision, the way we perceive the world is an active process of interpretation rather than a passive recording. Different animals perceive the world in very different ways depending on factors like the structure of their eyes, visual acuity, and the portion of the brain devoted to vision. The document also discusses how humans organize visual information through unconscious categorization in order to simplify perception and make the world more meaningful and predictable.
Visual perception
This document discusses several factors that can influence visual perception, including:
1. Personality traits like tolerance for ambiguity and impulsivity vs reflectivity.
2. Socio-cultural influences like gender, occupation, education, and cultural background that shape how people interpret images.
3. Contextual factors like mood, expectations, and motivations that can cause the same event or image to be perceived differently by different individuals.
What is imagination 2
This document summarizes an episode of "The Infinite Mind" radio program about imagination. The episode features interviews with psychologists and experts on childhood development discussing topics like the origins and importance of imagination and pretend play in children. It also includes segments with guests from the fields of education, children's literature, and video game design discussing how imagination is fostered and applied in their respective domains.
What is imagination
This document discusses the role of imagination in problem solving, desires, and managing people. It defines imagination as the ability to form mental images of things not physically present and notes that imagination allows one to face difficulties resourcefully. The document emphasizes that every idea is born in the imagination and encourages tapping into one's imagination by visualizing solutions to contemplated changes with vivid mental images to fully spark the imagination.
Barriers to idea generation for collaborative problem solving
This document discusses barriers to creative idea generation during collaborative problem solving. It aims to identify barriers and develop a formula to determine individuals' Brain Dominance Profiles (BDP), which indicate their thinking preferences. The document reviews how BDP relates to different processing modes and can influence idea generation. It suggests that understanding BDP and using a whole-brain approach can help maximize creative potential and overcome barriers during collaboration.
Assignment #10 composition
This document provides instructions for a two-part visual arts assignment combining the elements of composition: balance, emphasis, and continuity.
Part A instructs students to create a composition using four vertically arranged cut-out photographic images glued to a cardboard base to demonstrate balance, emphasis, and continuity. The images are to include a background, mid-ground object, foreground object, and person.
Part B requires students to submit a one page typed rationale in bullet points explaining how their composition uses balance, emphasis, and continuity. The model and rationale are due on the date listed in the course syllabus.
Assignment #9 unity
This document provides instructions for a two-part assignment on unity in composition for a visual imagination class. Students are asked to create a collage (Part A) that demonstrates visual and intellectual unity through techniques like repetition, continuity, enclosure, harmony, and common themes. Specific criteria are outlined for the collage, including size, layout, number of cutouts used, and labeling. Students must also submit a rationale (Part B) explaining how their collage achieves visual and intellectual unity in under one page. The assignment is due according to the date in the class syllabus.
Assignment #8 texture
This document provides instructions for an assignment asking students to write a short story and create a corresponding texture plate to allow blind people to experience the story through touch. Students must write a narrative describing 10 notable events that can be supported by different textures adhered to cardboard. The textures should be arranged in a logical sequence to guide a blindfolded classmate's hand along the plate as they read the story aloud. An example story is provided that references textures like an ID card, door handle, bump on the forehead, fish scales, waterfall, bullfrog, drinking straw, slithery sensation, tentacles, and more.
Assignment #7 color harmonies
This 3 sentence summary provides the key details about the document:
The document outlines Assignment #7 which asks students to illustrate 6 different color harmonies - including monochromatic, analogous, complementary, split complementary, double complementary, triadic, and tetradic - using watercolors in a grid format on Bristol board. Specific instructions are given for rendering the project, including outlining a border, using a 2x3 grid, labeling the color harmonies used, and meeting criteria for accuracy, neatness, and properly applying the watercolors. Students are encouraged to get feedback but must complete the assignment themselves.
Assignment #6 shape shifting
The document describes an assignment to visualize the process of physical change through shape shifting. Students are asked to show the metamorphosis of an inanimate object into a living thing, or vice versa, through a sequence of 9 drawings on a grid. Specific criteria include rendering the drawings on Bristol board with a grid and title. The drawings should demonstrate a transformation from one form in the top left square to a different form in the bottom right square through the 9 squares.
Assignment #5 quality of line
This document provides instructions for a two-part assignment exploring the emotional qualities of lines. For part A, students must draw four different lines within a grid on bristol board to represent specific emotions they have felt. The lines should be abstract and occupy most of each square, expressing emotions through line qualities alone rather than symbols. For part B, students must physically act out one of the lines from their drawing for the class in a single gesture. The assignment aims to convey emotion through abstract lines and physical gestures.
Assignment #4 point of view
This document provides the instructions for Assignment #4 titled "Point of View" for a Visual Imagination class. The assignment asks students to render a 9" x 10" Bristol board with a square border and a 3x3 grid within. Students must choose either to draw 9 cartoon-style line drawings from unique viewpoints, or photograph and trace 9 objects from non-typical angles, fitting each into a 2" x 2" grid square. The drawings should be done with extra fine point Sharpie after a pencil sketch and transfer. The goals are to find new perspectives on familiar subjects and meet the listed criteria accurately and neatly.
Assignment #3 pattern thinking
This document provides instructions for Assignment #3 on visual imagination. Students are asked to research a decorative design motif from a specific time period and culture, refine an existing motif to make it their own, and use the modified motif to create a repeating pattern within a 9x10 inch grid. The pattern must follow strict guidelines, including having the motif continuously rotate or mirror across all nine grid squares while touching adjoining motifs. Students will receive credit for meeting the criteria, drawing accurately, and being neat.
Assignment #2 assignment format
This document provides instructions for Assignment #2 for a visual imagination class. It explains that assignments will follow an assignment format to provide parameters. The goal of this assignment is to learn how to complete the assignment format, which involves rendering the project on 9x10 inch Bristol board with a square border drawn in Sharpie. It lists specific criteria like including the student's initial and last name on the right side in the specified lettering and spacing. Students are encouraged to ask for help but not have others complete the project for them.
More from ScenicProps Design (20)
Barriers to idea generation for collaborative problem solving
Barriers to idea generation for collaborative problem solving
Recently uploaded
Best 20 SEO Techniques To Improve Website Visibility In SERP
Boost your website's visibility with proven SEO techniques! Our latest blog dives into essential strategies to enhance your online presence, increase traffic, and rank higher on search engines. From keyword optimization to quality content creation, learn how to make your site stand out in the crowded digital landscape. Discover actionable tips and expert insights to elevate your SEO game.
Why You Should Replace Windows 11 with Nitrux Linux 3.5.0 for enhanced perfor...
The choice of an operating system plays a pivotal role in shaping our computing experience. For decades, Microsoft's Windows has dominated the market, offering a familiar and widely adopted platform for personal and professional use. However, as technological advancements continue to push the boundaries of innovation, alternative operating systems have emerged, challenging the status quo and offering users a fresh perspective on computing.
One such alternative that has garnered significant attention and acclaim is Nitrux Linux 3.5.0, a sleek, powerful, and user-friendly Linux distribution that promises to redefine the way we interact with our devices. With its focus on performance, security, and customization, Nitrux Linux presents a compelling case for those seeking to break free from the constraints of proprietary software and embrace the freedom and flexibility of open-source computing.
Removing Uninteresting Bytes in Software Fuzzing
Imagine a world where software fuzzing, the process of mutating bytes in test seeds to uncover hidden and erroneous program behaviors, becomes faster and more effective. A lot depends on the initial seeds, which can significantly dictate the trajectory of a fuzzing campaign, particularly in terms of how long it takes to uncover interesting behaviour in your code. We introduce DIAR, a technique designed to speedup fuzzing campaigns by pinpointing and eliminating those uninteresting bytes in the seeds. Picture this: instead of wasting valuable resources on meaningless mutations in large, bloated seeds, DIAR removes the unnecessary bytes, streamlining the entire process.
In this work, we equipped AFL, a popular fuzzer, with DIAR and examined two critical Linux libraries -- Libxml's xmllint, a tool for parsing xml documents, and Binutil's readelf, an essential debugging and security analysis command-line tool used to display detailed information about ELF (Executable and Linkable Format). Our preliminary results show that AFL+DIAR does not only discover new paths more quickly but also achieves higher coverage overall. This work thus showcases how starting with lean and optimized seeds can lead to faster, more comprehensive fuzzing campaigns -- and DIAR helps you find such seeds.
- These are slides of the talk given at IEEE International Conference on Software Testing Verification and Validation Workshop, ICSTW 2022.
Presentation of the OECD Artificial Intelligence Review of Germany
Consult the full report at https://www.oecd.org/digital/oecd-artificial-intelligence-review-of-germany-609808d6-en.htm
GraphSummit Singapore | Neo4j Product Vision & Roadmap - Q2 2024
Maruthi Prithivirajan, Head of ASEAN & IN Solution Architecture, Neo4j
Get an inside look at the latest Neo4j innovations that enable relationship-driven intelligence at scale. Learn more about the newest cloud integrations and product enhancements that make Neo4j an essential choice for developers building apps with interconnected data and generative AI.
UiPath Test Automation using UiPath Test Suite series, part 6
Welcome to UiPath Test Automation using UiPath Test Suite series part 6. In this session, we will cover Test Automation with generative AI and Open AI.
UiPath Test Automation with generative AI and Open AI webinar offers an in-depth exploration of leveraging cutting-edge technologies for test automation within the UiPath platform. Attendees will delve into the integration of generative AI, a test automation solution, with Open AI advanced natural language processing capabilities.
Throughout the session, participants will discover how this synergy empowers testers to automate repetitive tasks, enhance testing accuracy, and expedite the software testing life cycle. Topics covered include the seamless integration process, practical use cases, and the benefits of harnessing AI-driven automation for UiPath testing initiatives. By attending this webinar, testers, and automation professionals can gain valuable insights into harnessing the power of AI to optimize their test automation workflows within the UiPath ecosystem, ultimately driving efficiency and quality in software development processes.
What will you get from this session?
1. Insights into integrating generative AI.
2. Understanding how this integration enhances test automation within the UiPath platform
3. Practical demonstrations
4. Exploration of real-world use cases illustrating the benefits of AI-driven test automation for UiPath
Topics covered:
What is generative AI
Test Automation with generative AI and Open AI.
UiPath integration with generative AI
Speaker:
Deepak Rai, Automation Practice Lead, Boundaryless Group and UiPath MVP
20240607 QFM018 Elixir Reading List May 2024
Everything I found interesting about the Elixir programming ecosystem in May 2024
GraphSummit Singapore | The Art of the Possible with Graph - Q2 2024
Neha Bajwa, Vice President of Product Marketing, Neo4j
Join us as we explore breakthrough innovations enabled by interconnected data and AI. Discover firsthand how organizations use relationships in data to uncover contextual insights and solve our most pressing challenges – from optimizing supply chains, detecting fraud, and improving customer experiences to accelerating drug discoveries.
How to Get CNIC Information System with Paksim Ga.pptx
Pakdata Cf is a groundbreaking system designed to streamline and facilitate access to CNIC information. This innovative platform leverages advanced technology to provide users with efficient and secure access to their CNIC details.
Observability Concepts EVERY Developer Should Know -- DeveloperWeek Europe.pdf
Monitoring and observability aren’t traditionally found in software curriculums and many of us cobble this knowledge together from whatever vendor or ecosystem we were first introduced to and whatever is a part of your current company’s observability stack.
While the dev and ops silo continues to crumble….many organizations still relegate monitoring & observability as the purview of ops, infra and SRE teams. This is a mistake - achieving a highly observable system requires collaboration up and down the stack.
I, a former op, would like to extend an invitation to all application developers to join the observability party will share these foundational concepts to build on:
TrustArc Webinar - 2024 Global Privacy Survey
How does your privacy program stack up against your peers? What challenges are privacy teams tackling and prioritizing in 2024?
In the fifth annual Global Privacy Benchmarks Survey, we asked over 1,800 global privacy professionals and business executives to share their perspectives on the current state of privacy inside and outside of their organizations. This year’s report focused on emerging areas of importance for privacy and compliance professionals, including considerations and implications of Artificial Intelligence (AI) technologies, building brand trust, and different approaches for achieving higher privacy competence scores.
See how organizational priorities and strategic approaches to data security and privacy are evolving around the globe.
This webinar will review:
- The top 10 privacy insights from the fifth annual Global Privacy Benchmarks Survey
- The top challenges for privacy leaders, practitioners, and organizations in 2024
- Key themes to consider in developing and maintaining your privacy program
Driving Business Innovation: Latest Generative AI Advancements & Success Story
Are you ready to revolutionize how you handle data? Join us for a webinar where we’ll bring you up to speed with the latest advancements in Generative AI technology and discover how leveraging FME with tools from giants like Google Gemini, Amazon, and Microsoft OpenAI can supercharge your workflow efficiency.
During the hour, we’ll take you through:
Guest Speaker Segment with Hannah Barrington: Dive into the world of dynamic real estate marketing with Hannah, the Marketing Manager at Workspace Group. Hear firsthand how their team generates engaging descriptions for thousands of office units by integrating diverse data sources—from PDF floorplans to web pages—using FME transformers, like OpenAIVisionConnector and AnthropicVisionConnector. This use case will show you how GenAI can streamline content creation for marketing across the board.
Ollama Use Case: Learn how Scenario Specialist Dmitri Bagh has utilized Ollama within FME to input data, create custom models, and enhance security protocols. This segment will include demos to illustrate the full capabilities of FME in AI-driven processes.
Custom AI Models: Discover how to leverage FME to build personalized AI models using your data. Whether it’s populating a model with local data for added security or integrating public AI tools, find out how FME facilitates a versatile and secure approach to AI.
We’ll wrap up with a live Q&A session where you can engage with our experts on your specific use cases, and learn more about optimizing your data workflows with AI.
This webinar is ideal for professionals seeking to harness the power of AI within their data management systems while ensuring high levels of customization and security. Whether you're a novice or an expert, gain actionable insights and strategies to elevate your data processes. Join us to see how FME and AI can revolutionize how you work with data!
GraphSummit Singapore | Enhancing Changi Airport Group's Passenger Experience...
Dr. Sean Tan, Head of Data Science, Changi Airport Group
Discover how Changi Airport Group (CAG) leverages graph technologies and generative AI to revolutionize their search capabilities. This session delves into the unique search needs of CAG’s diverse passengers and customers, showcasing how graph data structures enhance the accuracy and relevance of AI-generated search results, mitigating the risk of “hallucinations” and improving the overall customer journey.
Mind map of terminologies used in context of Generative AI
Mind map of common terms used in context of Generative AI.
National Security Agency - NSA mobile device best practices
Threats to mobile devices are more prevalent and increasing in scope and complexity. Users of mobile devices desire to take full advantage of the features
available on those devices, but many of the features provide convenience and capability but sacrifice security. This best practices guide outlines steps the users can take to better protect personal devices and information.
“I’m still / I’m still / Chaining from the Block”
“An Outlook of the Ongoing and Future Relationship between Blockchain Technologies and Process-aware Information Systems.” Invited talk at the joint workshop on Blockchain for Information Systems (BC4IS) and Blockchain for Trusted Data Sharing (B4TDS), co-located with with the 36th International Conference on Advanced Information Systems Engineering (CAiSE), 3 June 2024, Limassol, Cyprus.
Communications Mining Series - Zero to Hero - Session 1
This session provides introduction to UiPath Communication Mining, importance and platform overview. You will acquire a good understand of the phases in Communication Mining as we go over the platform with you. Topics covered:
• Communication Mining Overview
• Why is it important?
• How can it help today’s business and the benefits
• Phases in Communication Mining
• Demo on Platform overview
• Q/A
Recently uploaded (20)
Best 20 SEO Techniques To Improve Website Visibility In SERP
Best 20 SEO Techniques To Improve Website Visibility In SERP
Why You Should Replace Windows 11 with Nitrux Linux 3.5.0 for enhanced perfor...
Why You Should Replace Windows 11 with Nitrux Linux 3.5.0 for enhanced perfor...
Presentation of the OECD Artificial Intelligence Review of Germany
Presentation of the OECD Artificial Intelligence Review of Germany
GraphSummit Singapore | Neo4j Product Vision & Roadmap - Q2 2024
GraphSummit Singapore | Neo4j Product Vision & Roadmap - Q2 2024
UiPath Test Automation using UiPath Test Suite series, part 6
UiPath Test Automation using UiPath Test Suite series, part 6
GraphSummit Singapore | The Art of the Possible with Graph - Q2 2024
GraphSummit Singapore | The Art of the Possible with Graph - Q2 2024
How to Get CNIC Information System with Paksim Ga.pptx
How to Get CNIC Information System with Paksim Ga.pptx
Observability Concepts EVERY Developer Should Know -- DeveloperWeek Europe.pdf
Observability Concepts EVERY Developer Should Know -- DeveloperWeek Europe.pdf
Driving Business Innovation: Latest Generative AI Advancements & Success Story
Driving Business Innovation: Latest Generative AI Advancements & Success Story
GraphSummit Singapore | Enhancing Changi Airport Group's Passenger Experience...
GraphSummit Singapore | Enhancing Changi Airport Group's Passenger Experience...
Mind map of terminologies used in context of Generative AI
Mind map of terminologies used in context of Generative AI
National Security Agency - NSA mobile device best practices
National Security Agency - NSA mobile device best practices
Communications Mining Series - Zero to Hero - Session 1
Communications Mining Series - Zero to Hero - Session 1
14 volume
- 2. When you make a room out of a floor, four walls, and a ceiling, you will have besides those six things, a seventh as well: space, a thing probably more memorable than any of the physical elements that made it. Its creation of course is an illusion. You will not have made something out of nothing, only separated a particular part from the continuum of all space. Charles Moore.
- 3. In visual terms, volume is the quantity (capacity) of space taken up by a substance or object within an enclosed container (vessel). The vessel may be fully or partially enclosed. Volume assumes its characteristics by the disposition or arrangement of mass and form, within it. Mass refers to higher density substances (materials), while space refers to lower density open areas.
- 4. Perhaps a misnomer, volume, in visual terms, is more like interior form; the bowels of an entity.
- 5. Because volumes are defined by form, they are three dimensional: they have length, width and depth. Volumes can be suggested, two-dimensionally, by various drawing projection systems such as isometrics or perspective. Isometric cube Perspective cube
- 6. Like lines, shapes, and forms, volumes can also be expressive and carry some psychological or emotional weight. While looking at the following images, project yourself into the volumes. How do they feel?
- 7. A Frank Lloyd Wright living room.
- 8. A modern living room.
- 9. An 18th century parlor.
- 10. In this room.
- 12. A “space age” lacquered Form fitting lounge with TV attached.
- 16. A geodesic dome.
- 18. Phillip Johnson’s glass house.
- 19. A 14th century kitchen.
- 22. A lobby of an art nouveau hotel.
- 23. Under a primitive log dome.
- 26. Inside the Glass cathedral.
- 27. Inside Victoria station - London
- 29. In this garden.
- 30. In this garden
- 31. Inside the Teatro Olimpico – Vicenza.
- 32. Inside a dinner theatre.