Discussing Design Without Losing Your Mind - SoCal UX CampAaron Irizarry
Getting feedback from clients, teams, and stakeholders can be terrifying. We’ve all had our designs berated during painful meetings that result in nothing actionable or useful.
This presentation will provide tips and techniques for improving the conversations you ahve surrounding design with your teams, clients, and organizations.
Cobly Sato and I ran a workshop at Pivotal through teaching people the principles of pair design in the context of ideation. This slideshow covers what Colby's learned through pairing and what I have learned in developing Pivotal Lab's design practices. Topics include: benefits of pairing, what makes for a good pair relationship, and the organizational requirements for pairing.
Colby can be reached at: CDJSato@gmail.com and Medium:@ColbySato
Kim can be reached at: KimSheBlue@gmail.com and Twitter:@KimDowd.
How to critique photography from a design point of view. A new and improved version of my original presentation. If you'd like a critique of your work, you can find more information here: http://www.imagemaven.com/photocrit
Discussing Design Without Losing Your Mind - SoCal UX CampAaron Irizarry
Getting feedback from clients, teams, and stakeholders can be terrifying. We’ve all had our designs berated during painful meetings that result in nothing actionable or useful.
This presentation will provide tips and techniques for improving the conversations you ahve surrounding design with your teams, clients, and organizations.
Cobly Sato and I ran a workshop at Pivotal through teaching people the principles of pair design in the context of ideation. This slideshow covers what Colby's learned through pairing and what I have learned in developing Pivotal Lab's design practices. Topics include: benefits of pairing, what makes for a good pair relationship, and the organizational requirements for pairing.
Colby can be reached at: CDJSato@gmail.com and Medium:@ColbySato
Kim can be reached at: KimSheBlue@gmail.com and Twitter:@KimDowd.
How to critique photography from a design point of view. A new and improved version of my original presentation. If you'd like a critique of your work, you can find more information here: http://www.imagemaven.com/photocrit
Stop It! Taking on the bad habits that hurt design discussions.Adam Connor
In this presentation I discuss 10 bad habits that we've found in teams and organizations that inhibit their ability to critique and hold productive, meaningful design discussions.
Critique is a vital skill for any good designer. Here we talk about it's application in everyday life as well as the formal work we do with clients as UX Designers.
This talk has been given at a number of conferences by myself and the amazing Aaron Irizaryy (http://www.thisisaaronslife.com/)
We'll be keeping the most up-to-date version of the slides uploaded here. If you'd like a copy from a previous iteration, please get in touch with either Aaron or myself, and we'll happily get one to you.
Updated 5/55 to the version used at WebVisions Portland in 2012.
"It just doesn't feel right". "It needs to pop more". "I just don't like it, I can't explain why." One of the best ways to get a designer to roll their eyes and probably ignore you is to give terrible, non-specific feedback on their designs. You don't have to attend design school to learn how to give good feedback on designs (although, it doesn't hurt). This talk will provide basic principles to follow to give (and receive) great design feedback. Learn do's and don'ts to ensure that your feedback can be understood, respected, and responded to appropriately. We'll discuss different formats for giving feedback and ways to make sure that your feedback is benefiting the people that really matter - your users. Whether you are a designer, developer, or product owner, you'll leave with tools tips to communicate better with your team - and develop better products because of it.
This slide deck anchored a live high school lesson at Florida Virtual School. It's goal was to introduce design thinking as a way for teachers and students to innovate together. We used Blackboard Collaborate to host the lesson online, but feel free to tailor this deck for your own use!
Stop It! Taking on the bad habits that hurt design discussions.Adam Connor
In this presentation I discuss 10 bad habits that we've found in teams and organizations that inhibit their ability to critique and hold productive, meaningful design discussions.
Critique is a vital skill for any good designer. Here we talk about it's application in everyday life as well as the formal work we do with clients as UX Designers.
This talk has been given at a number of conferences by myself and the amazing Aaron Irizaryy (http://www.thisisaaronslife.com/)
We'll be keeping the most up-to-date version of the slides uploaded here. If you'd like a copy from a previous iteration, please get in touch with either Aaron or myself, and we'll happily get one to you.
Updated 5/55 to the version used at WebVisions Portland in 2012.
"It just doesn't feel right". "It needs to pop more". "I just don't like it, I can't explain why." One of the best ways to get a designer to roll their eyes and probably ignore you is to give terrible, non-specific feedback on their designs. You don't have to attend design school to learn how to give good feedback on designs (although, it doesn't hurt). This talk will provide basic principles to follow to give (and receive) great design feedback. Learn do's and don'ts to ensure that your feedback can be understood, respected, and responded to appropriately. We'll discuss different formats for giving feedback and ways to make sure that your feedback is benefiting the people that really matter - your users. Whether you are a designer, developer, or product owner, you'll leave with tools tips to communicate better with your team - and develop better products because of it.
This slide deck anchored a live high school lesson at Florida Virtual School. It's goal was to introduce design thinking as a way for teachers and students to innovate together. We used Blackboard Collaborate to host the lesson online, but feel free to tailor this deck for your own use!
Palestine last event orientationfvgnh .pptxRaedMohamed3
An EFL lesson about the current events in Palestine. It is intended to be for intermediate students who wish to increase their listening skills through a short lesson in power point.
Embracing GenAI - A Strategic ImperativePeter Windle
Artificial Intelligence (AI) technologies such as Generative AI, Image Generators and Large Language Models have had a dramatic impact on teaching, learning and assessment over the past 18 months. The most immediate threat AI posed was to Academic Integrity with Higher Education Institutes (HEIs) focusing their efforts on combating the use of GenAI in assessment. Guidelines were developed for staff and students, policies put in place too. Innovative educators have forged paths in the use of Generative AI for teaching, learning and assessments leading to pockets of transformation springing up across HEIs, often with little or no top-down guidance, support or direction.
This Gasta posits a strategic approach to integrating AI into HEIs to prepare staff, students and the curriculum for an evolving world and workplace. We will highlight the advantages of working with these technologies beyond the realm of teaching, learning and assessment by considering prompt engineering skills, industry impact, curriculum changes, and the need for staff upskilling. In contrast, not engaging strategically with Generative AI poses risks, including falling behind peers, missed opportunities and failing to ensure our graduates remain employable. The rapid evolution of AI technologies necessitates a proactive and strategic approach if we are to remain relevant.
Read| The latest issue of The Challenger is here! We are thrilled to announce that our school paper has qualified for the NATIONAL SCHOOLS PRESS CONFERENCE (NSPC) 2024. Thank you for your unwavering support and trust. Dive into the stories that made us stand out!
Macroeconomics- Movie Location
This will be used as part of your Personal Professional Portfolio once graded.
Objective:
Prepare a presentation or a paper using research, basic comparative analysis, data organization and application of economic information. You will make an informed assessment of an economic climate outside of the United States to accomplish an entertainment industry objective.
How to Make a Field invisible in Odoo 17Celine George
It is possible to hide or invisible some fields in odoo. Commonly using “invisible” attribute in the field definition to invisible the fields. This slide will show how to make a field invisible in odoo 17.
Acetabularia Information For Class 9 .docxvaibhavrinwa19
Acetabularia acetabulum is a single-celled green alga that in its vegetative state is morphologically differentiated into a basal rhizoid and an axially elongated stalk, which bears whorls of branching hairs. The single diploid nucleus resides in the rhizoid.
Model Attribute Check Company Auto PropertyCeline George
In Odoo, the multi-company feature allows you to manage multiple companies within a single Odoo database instance. Each company can have its own configurations while still sharing common resources such as products, customers, and suppliers.
The Roman Empire A Historical Colossus.pdfkaushalkr1407
The Roman Empire, a vast and enduring power, stands as one of history's most remarkable civilizations, leaving an indelible imprint on the world. It emerged from the Roman Republic, transitioning into an imperial powerhouse under the leadership of Augustus Caesar in 27 BCE. This transformation marked the beginning of an era defined by unprecedented territorial expansion, architectural marvels, and profound cultural influence.
The empire's roots lie in the city of Rome, founded, according to legend, by Romulus in 753 BCE. Over centuries, Rome evolved from a small settlement to a formidable republic, characterized by a complex political system with elected officials and checks on power. However, internal strife, class conflicts, and military ambitions paved the way for the end of the Republic. Julius Caesar’s dictatorship and subsequent assassination in 44 BCE created a power vacuum, leading to a civil war. Octavian, later Augustus, emerged victorious, heralding the Roman Empire’s birth.
Under Augustus, the empire experienced the Pax Romana, a 200-year period of relative peace and stability. Augustus reformed the military, established efficient administrative systems, and initiated grand construction projects. The empire's borders expanded, encompassing territories from Britain to Egypt and from Spain to the Euphrates. Roman legions, renowned for their discipline and engineering prowess, secured and maintained these vast territories, building roads, fortifications, and cities that facilitated control and integration.
The Roman Empire’s society was hierarchical, with a rigid class system. At the top were the patricians, wealthy elites who held significant political power. Below them were the plebeians, free citizens with limited political influence, and the vast numbers of slaves who formed the backbone of the economy. The family unit was central, governed by the paterfamilias, the male head who held absolute authority.
Culturally, the Romans were eclectic, absorbing and adapting elements from the civilizations they encountered, particularly the Greeks. Roman art, literature, and philosophy reflected this synthesis, creating a rich cultural tapestry. Latin, the Roman language, became the lingua franca of the Western world, influencing numerous modern languages.
Roman architecture and engineering achievements were monumental. They perfected the arch, vault, and dome, constructing enduring structures like the Colosseum, Pantheon, and aqueducts. These engineering marvels not only showcased Roman ingenuity but also served practical purposes, from public entertainment to water supply.
A Strategic Approach: GenAI in EducationPeter Windle
Artificial Intelligence (AI) technologies such as Generative AI, Image Generators and Large Language Models have had a dramatic impact on teaching, learning and assessment over the past 18 months. The most immediate threat AI posed was to Academic Integrity with Higher Education Institutes (HEIs) focusing their efforts on combating the use of GenAI in assessment. Guidelines were developed for staff and students, policies put in place too. Innovative educators have forged paths in the use of Generative AI for teaching, learning and assessments leading to pockets of transformation springing up across HEIs, often with little or no top-down guidance, support or direction.
This Gasta posits a strategic approach to integrating AI into HEIs to prepare staff, students and the curriculum for an evolving world and workplace. We will highlight the advantages of working with these technologies beyond the realm of teaching, learning and assessment by considering prompt engineering skills, industry impact, curriculum changes, and the need for staff upskilling. In contrast, not engaging strategically with Generative AI poses risks, including falling behind peers, missed opportunities and failing to ensure our graduates remain employable. The rapid evolution of AI technologies necessitates a proactive and strategic approach if we are to remain relevant.
3. You can see each photograph, where it starts and finishes.
The more layers there are over the top the darker the
layer is and the less ghost like it is.
The angle of this picture is quite odd as you feel as you’re floating
to see this picture. The main feature isn’t, the clock tower, isn't in
the middle of the picture which makes this quite unusual. But it
still works.
I like the way you can see the layers
and where there is one or two
layers it looks ghost like and the
statuses make this look mysterious.
5. Evaluate: ideas eg analysis, results;
How well do you feel you have realised your ideas and intentions and what results have
you got? Ensure you talk critically (compare, contrast, assess) about your work. You
should reference your influences and assess how your work compares.
Qualities:
Consider the aesthetic qualities of your work. How does it look? What do you like about
it? What are the strongest and weakest elements from an aesthetic point of view?
5
Consider the technical qualities of your work? How well done is it? What elements are
strongest and which could need further work and development? Be sure to use
technical terms in your work such as exposure, shutter speed, aperture and talk
specifically about any post-production techniques you have used.
6. How could you improve your work? Could you develop your work further with
additional work? What would you try to achieve with this? Could you undertake further
experiments? If so, what would they be?
When talking about your work, consider formal elements such as lines, shapes and
patterns as well as the colour and contrast and also tone of your image. Think about the
composition of your work and where this could be developed.
6
Finally you should consider if the images you have produced fulfil the brief you were
set. Do they match the theme? Are they experimental? Explain your answers using
specific examples.
8. This final picture
is made up of
three different
images all
featuring big
ben and part of
the houses of
parliament. It
makes this
landscape look
more interesting
and the further
to the left you
go the clearer
the picture goes
and it is like you
a seeing
beneath the
whole picture.
Again you can see the layers that make up the picture, rather than cropping
them out, I left them in to create a building up the layers look. To me it also
looks like the blue prints of what the building will look like before it is made.
But because it is a well known building it sort of contradicts itself.
The angle is interesting and instead of just
featuring one building, a landscape photograph in
this style is still very effective.
10. Evaluate: ideas eg analysis, results;
How well do you feel you have realised your ideas and intentions and what results have
you got? Ensure you talk critically (compare, contrast, assess) about your work. You
should reference your influences and assess how your work compares.
Qualities:
Consider the aesthetic qualities of your work. How does it look? What do you like about
it? What are the strongest and weakest elements from an aesthetic point of view?
10
Consider the technical qualities of your work? How well done is it? What elements are
strongest and which could need further work and development? Be sure to use
technical terms in your work such as exposure, shutter speed, aperture and talk
specifically about any post-production techniques you have used.
11. How could you improve your work? Could you develop your work further with
additional work? What would you try to achieve with this? Could you undertake further
experiments? If so, what would they be?
When talking about your work, consider formal elements such as lines, shapes and
patterns as well as the colour and contrast and also tone of your image. Think about the
composition of your work and where this could be developed.
11
Finally you should consider if the images you have produced fulfil the brief you were
set. Do they match the theme? Are they experimental? Explain your answers using
specific examples.
13. The more layers there are the darker the colours get and but
the more blurred the features on Buckingham Palace get. It
sort of looks like you cant see the middle of the image as well
as the outsides .
Each picture
has been taken
at a slight
angle,
therefore some
parts of the
building don’t
join up as well
but this just
adds to the
effect of
showing the
layers that
make the
whole picture.
It is sort of like
a joiner effect
but using
double
exposures too.
I used the auto setting on my camera when I
took each picture and this has made a few
pictures look brighter than others and when
exposed together they create a different colour
for example the sky is a different colour in some
parts.
14. Evaluate: ideas eg analysis, results;
How well do you feel you have realised your ideas and intentions and what results have
you got? Ensure you talk critically (compare, contrast, assess) about your work. You
should reference your influences and assess how your work compares.
Qualities:
Consider the aesthetic qualities of your work. How does it look? What do you like about
it? What are the strongest and weakest elements from an aesthetic point of view?
14
Consider the technical qualities of your work? How well done is it? What elements are
strongest and which could need further work and development? Be sure to use
technical terms in your work such as exposure, shutter speed, aperture and talk
specifically about any post-production techniques you have used.
15. How could you improve your work? Could you develop your work further with
additional work? What would you try to achieve with this? Could you undertake further
experiments? If so, what would they be?
When talking about your work, consider formal elements such as lines, shapes and
patterns as well as the colour and contrast and also tone of your image. Think about the
composition of your work and where this could be developed.
15
Finally you should consider if the images you have produced fulfil the brief you were
set. Do they match the theme? Are they experimental? Explain your answers using
specific examples.