The document discusses a proposed website project aimed at helping creative individuals overcome writer's block. It would do so by presenting curated images grouped by emotional themes to stimulate imagination and spark new ideas. The proposed site would display the images in a slideshow format with viewers asked to evaluate how effectively each image conveys its intended emotion based on criteria like color, ability to elicit memories, and whether it "works" as a whole slide. The goal is to boost the brainstorming process and catalyze creative breakthroughs for struggling writers.
This presentation reflects on the mood board and inspiration board which is the foundation of designing process.
Presented by The students of BA Degree in Jewellery Design & Manufacturing Techniques batch 13.
Design & Mood Boards: Unearthing Your Brand or Project’s Tone. A designer will explore concepts and themes via a
design and/or mood board, because trying to explain a design
idea, mood, emotions and the like can be hard to
communicate. Some people do well in bullet points or verbal
explanation, but some need a visual. This explains that process and its importance.
This is the second part of my Interaction 14 workshop. Due to the projector connection breaking down some of these slides were seen during the workshop.
This presentation reflects on the mood board and inspiration board which is the foundation of designing process.
Presented by The students of BA Degree in Jewellery Design & Manufacturing Techniques batch 13.
Design & Mood Boards: Unearthing Your Brand or Project’s Tone. A designer will explore concepts and themes via a
design and/or mood board, because trying to explain a design
idea, mood, emotions and the like can be hard to
communicate. Some people do well in bullet points or verbal
explanation, but some need a visual. This explains that process and its importance.
This is the second part of my Interaction 14 workshop. Due to the projector connection breaking down some of these slides were seen during the workshop.
Marguerite HelmersThe Elements of Critical ViewingMargueri.docxinfantsuk
Marguerite Helmers
The Elements of Critical Viewing
Marguerite Helmers (1961- ) is Professor of English at the University of Wisconsin, Oshkosh, where she teaches courses in Visual Rhetoric, The Rhetoric of Literature, and Film & Literary Studies. She has edited the two scholarly texts: Intertexts: Reading Pedagogy in College Writing Classrooms (2003) and The Traveling and Writing Self (2007). The following essay is adapted from Chapter Two of her book The Elements of Visual Analysis (2006).
A New Language
When you look at a family photograph, an image in an advertisement, or a poster on a coffee shop wall, what do you see? How might you turn your initial positive or negative reaction into a critical process of analysis? Critical viewing entails looking closely at an image to comprehend its structure and to evaluate the information presented. “What you see is a major part of what you know,” writes Donis Dondis, author of a popular visual studies handbook. Our goal is to move from being passive consumers of images to active interrogators. This takes study. Initially, if possible, we should think consensually and sympathetically, reading the image in the way that it appears to be intended to be read, avoiding critique until after we examine the elements of the image. This process involves a degree of intellectual largesse on our part, meaning that we grant to the author of the image our attempt to understand his or her judgments, even if we disagree. Thinking consensually is not always possible, especially when we view images of war, strife, and privation, because the images cause us to react with horror and outrage. Yet, our repulsion can be an agent for meaningful change as we seek to investigate the conditions under which images were created and disseminated.
Even though we begin by examining what the creator may have intended, we need to keep in mind that there is never a single interpretation of an image, so our goal is not to discover the right interpretation, but to offer potential readings of an image.
The goal of this chapter is to help you establish a process and develop a language for examining visual images. You not only want to describe what is there before you, you also want to understand why the creator made certain choices. Sylvan Barnett, the author of several texts on analyzing fine art, writes that we “see” with more than our eyes: when we look at objects and images, we engage emotions, memory, and ideology (the system of values and beliefs into which we have been educated).
Before continuing with your work, remember two things. First, to see images in their original contexts. While digital technology has made it possible for many art galleries, museums, and image lovers to put high-quality color images of paintings, photographs, and sculpture online, they all appear on the same small, flat screen. Missing is the context of viewing: the hushed tones of the art museum or the buzz of the coffee house. The ambient no ...
DocumentaryFilm Analysis WorksheetInstructions for DocumentDustiBuckner14
Documentary/Film Analysis Worksheet
Instructions for Documentary/Film Critique
Students are required to compose one documentary/film critiques on selected films viewed in class. Critiques should be well written, following standard rules of grammar and composition, and developing consistent, cohesive ideas over several paragraphs. Much of your grade will be determined by the clarity and correctness of your writing.
A critique, however, is somewhat different from a review. A critique is an analytical essay on a documentary/film, in which you give your opinion on the aesthetics, content, and quality of the film and then give your reasons for your opinion. Do not limit yourself to reacting to the film (“I loved it !”) and do not use generic terms like “incredible,” “wonderful,” “marvelous,” etc. Unlike a review, you assume that the reader has already seen the movie; you do not need to give an extensive plot summary; you do not need to hide plot information so as not to spoil the surprise of the viewer; and you do need to be consistently analytical and critical.
Use the following scale to rate documentaries/films:
****
Outstanding---It has ambitions to be more than an entertainment. It has a strong storyline. It is not only well made, but it has a strong emotional impact on the viewer. A must-see documentary/film for everyone!
***
Good--- A documentary/film that does not have quite the same quality, content, or emotional impact as the previous category. It is interesting and does hold your attention. There are subjects that come about that require more explanation, but overall, it was well done.
**
Acceptable--- It may, however, be quite ordinary, there is really no new information provided, and the documentary/film seems to be all over the place. There is a clear bias that seems to be representative of like-minded viewers. It is probably well made, but has deficiencies in characterization, content, that are obvious to the discerning viewer. Overall, it is worth watching for a better understanding of the subject, however, it is not considered “a must see.”
*
Poor---Storyline is predictable, no imagination, intended to be offensive, poorly constructed; characters are superficial; dialogue is confusing; the purpose of the documentary/film is self-serving and provides no substance or educative value. In fact, if this wasn’t required by the course, you would probably walk out.
STUDENT NAME: ______________________________
DATE: _____________________
STUDENT ID #: ________________________________
Course: ____________________
Documentary Title:
Name of Director:
Name of Writer(s):
Year Released:
1
INITIAL ANALYSIS/FIRST 30 MINUTES
Subject/Theme In less than two (2) paragraphs, state what you believe to be the overall theme (implicit meaning) or point of the documentary/film.
CHARACTER/THEME ANALYSIS WORKSHEET
Directions: Answer each question below. These responses are your own and shall not be taken from another source unless that source ...
Marguerite HelmersThe Elements of Critical ViewingMargueri.docxinfantsuk
Marguerite Helmers
The Elements of Critical Viewing
Marguerite Helmers (1961- ) is Professor of English at the University of Wisconsin, Oshkosh, where she teaches courses in Visual Rhetoric, The Rhetoric of Literature, and Film & Literary Studies. She has edited the two scholarly texts: Intertexts: Reading Pedagogy in College Writing Classrooms (2003) and The Traveling and Writing Self (2007). The following essay is adapted from Chapter Two of her book The Elements of Visual Analysis (2006).
A New Language
When you look at a family photograph, an image in an advertisement, or a poster on a coffee shop wall, what do you see? How might you turn your initial positive or negative reaction into a critical process of analysis? Critical viewing entails looking closely at an image to comprehend its structure and to evaluate the information presented. “What you see is a major part of what you know,” writes Donis Dondis, author of a popular visual studies handbook. Our goal is to move from being passive consumers of images to active interrogators. This takes study. Initially, if possible, we should think consensually and sympathetically, reading the image in the way that it appears to be intended to be read, avoiding critique until after we examine the elements of the image. This process involves a degree of intellectual largesse on our part, meaning that we grant to the author of the image our attempt to understand his or her judgments, even if we disagree. Thinking consensually is not always possible, especially when we view images of war, strife, and privation, because the images cause us to react with horror and outrage. Yet, our repulsion can be an agent for meaningful change as we seek to investigate the conditions under which images were created and disseminated.
Even though we begin by examining what the creator may have intended, we need to keep in mind that there is never a single interpretation of an image, so our goal is not to discover the right interpretation, but to offer potential readings of an image.
The goal of this chapter is to help you establish a process and develop a language for examining visual images. You not only want to describe what is there before you, you also want to understand why the creator made certain choices. Sylvan Barnett, the author of several texts on analyzing fine art, writes that we “see” with more than our eyes: when we look at objects and images, we engage emotions, memory, and ideology (the system of values and beliefs into which we have been educated).
Before continuing with your work, remember two things. First, to see images in their original contexts. While digital technology has made it possible for many art galleries, museums, and image lovers to put high-quality color images of paintings, photographs, and sculpture online, they all appear on the same small, flat screen. Missing is the context of viewing: the hushed tones of the art museum or the buzz of the coffee house. The ambient no ...
DocumentaryFilm Analysis WorksheetInstructions for DocumentDustiBuckner14
Documentary/Film Analysis Worksheet
Instructions for Documentary/Film Critique
Students are required to compose one documentary/film critiques on selected films viewed in class. Critiques should be well written, following standard rules of grammar and composition, and developing consistent, cohesive ideas over several paragraphs. Much of your grade will be determined by the clarity and correctness of your writing.
A critique, however, is somewhat different from a review. A critique is an analytical essay on a documentary/film, in which you give your opinion on the aesthetics, content, and quality of the film and then give your reasons for your opinion. Do not limit yourself to reacting to the film (“I loved it !”) and do not use generic terms like “incredible,” “wonderful,” “marvelous,” etc. Unlike a review, you assume that the reader has already seen the movie; you do not need to give an extensive plot summary; you do not need to hide plot information so as not to spoil the surprise of the viewer; and you do need to be consistently analytical and critical.
Use the following scale to rate documentaries/films:
****
Outstanding---It has ambitions to be more than an entertainment. It has a strong storyline. It is not only well made, but it has a strong emotional impact on the viewer. A must-see documentary/film for everyone!
***
Good--- A documentary/film that does not have quite the same quality, content, or emotional impact as the previous category. It is interesting and does hold your attention. There are subjects that come about that require more explanation, but overall, it was well done.
**
Acceptable--- It may, however, be quite ordinary, there is really no new information provided, and the documentary/film seems to be all over the place. There is a clear bias that seems to be representative of like-minded viewers. It is probably well made, but has deficiencies in characterization, content, that are obvious to the discerning viewer. Overall, it is worth watching for a better understanding of the subject, however, it is not considered “a must see.”
*
Poor---Storyline is predictable, no imagination, intended to be offensive, poorly constructed; characters are superficial; dialogue is confusing; the purpose of the documentary/film is self-serving and provides no substance or educative value. In fact, if this wasn’t required by the course, you would probably walk out.
STUDENT NAME: ______________________________
DATE: _____________________
STUDENT ID #: ________________________________
Course: ____________________
Documentary Title:
Name of Director:
Name of Writer(s):
Year Released:
1
INITIAL ANALYSIS/FIRST 30 MINUTES
Subject/Theme In less than two (2) paragraphs, state what you believe to be the overall theme (implicit meaning) or point of the documentary/film.
CHARACTER/THEME ANALYSIS WORKSHEET
Directions: Answer each question below. These responses are your own and shall not be taken from another source unless that source ...
Doodle art is a warm-up exercise that allows students to learn how an artist thinks using elements of art and principles of design, It is how an artist plays and it is fun!
Unit 8 - Information and Communication Technology (Paper I).pdfThiyagu K
This slides describes the basic concepts of ICT, basics of Email, Emerging Technology and Digital Initiatives in Education. This presentations aligns with the UGC Paper I syllabus.
Honest Reviews of Tim Han LMA Course Program.pptxtimhan337
Personal development courses are widely available today, with each one promising life-changing outcomes. Tim Han’s Life Mastery Achievers (LMA) Course has drawn a lot of interest. In addition to offering my frank assessment of Success Insider’s LMA Course, this piece examines the course’s effects via a variety of Tim Han LMA course reviews and Success Insider comments.
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.
Welcome to TechSoup New Member Orientation and Q&A (May 2024).pdfTechSoup
In this webinar you will learn how your organization can access TechSoup's wide variety of product discount and donation programs. From hardware to software, we'll give you a tour of the tools available to help your nonprofit with productivity, collaboration, financial management, donor tracking, security, and more.
Introduction to AI for Nonprofits with Tapp NetworkTechSoup
Dive into the world of AI! Experts Jon Hill and Tareq Monaur will guide you through AI's role in enhancing nonprofit websites and basic marketing strategies, making it easy to understand and apply.
Operation “Blue Star” is the only event in the history of Independent India where the state went into war with its own people. Even after about 40 years it is not clear if it was culmination of states anger over people of the region, a political game of power or start of dictatorial chapter in the democratic setup.
The people of Punjab felt alienated from main stream due to denial of their just demands during a long democratic struggle since independence. As it happen all over the word, it led to militant struggle with great loss of lives of military, police and civilian personnel. Killing of Indira Gandhi and massacre of innocent Sikhs in Delhi and other India cities was also associated with this movement.
Biological screening of herbal drugs: Introduction and Need for
Phyto-Pharmacological Screening, New Strategies for evaluating
Natural Products, In vitro evaluation techniques for Antioxidants, Antimicrobial and Anticancer drugs. In vivo evaluation techniques
for Anti-inflammatory, Antiulcer, Anticancer, Wound healing, Antidiabetic, Hepatoprotective, Cardio protective, Diuretics and
Antifertility, Toxicity studies as per OECD guidelines
The French Revolution, which began in 1789, was a period of radical social and political upheaval in France. It marked the decline of absolute monarchies, the rise of secular and democratic republics, and the eventual rise of Napoleon Bonaparte. This revolutionary period is crucial in understanding the transition from feudalism to modernity in Europe.
For more information, visit-www.vavaclasses.com
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.
1. Evaluating Aesthetics of Interactive Arts Dennis M. Kennelly Aesthetics of Interactive Arts Dr. Mihai Nadin Nov. 15 th , 2008
2.
3. “ I’ll make a website !” * A site to help remove a creative person’s (especially writers) blockage or lack of ideas. * Motivation spurred by emotional stimulation, based on themes of images, calling up personal memories and commonly held archetypes.
4.
5.
6. I seek to boost the Brainstorming Process by presenting a format to stimulate a “stuck” imagination, catalyzing BREAKTHROUGHS .
11. Evaluation Criteria cont. * Does the background color belong or coordinate with the emotion represented? *As the viewer, does the entire slide, including the image, intuitively “work” ? * What would you change?
![“ Subject?…What’s my subject ?!” ,[object Object],[object Object],[object Object]](data:image/gif;base64,R0lGODlhAQABAIAAAAAAAP///yH5BAEAAAAALAAAAAABAAEAAAIBRAA7)