In this presentation, an introduction to Perspective Drawing has been given. All terms related to the topic has been defined and explained. And step by step procedure to draw One Point Perspective and Two Point Perspective is given at the end.
This Basic design Presentation serves the purpose of initiating creativity and there by appreciation of visual language.
Basic design studios help to unlock students creativity and enhance spatial perception.
Basic design & visual arts (Elements of design)Ar.Shakti Nanda
Lecture and presentation on Elements of Design for students of architecture, fine art and photography. semester - I (2015), Sri Sri University, Odisha. 7+1 Elements of design explained (Point, Line, Shapes, Space, Form, Texture, Value, Colour) in details with examples for better understanding. Content compiled from books and internet.
In this presentation, an introduction to Perspective Drawing has been given. All terms related to the topic has been defined and explained. And step by step procedure to draw One Point Perspective and Two Point Perspective is given at the end.
This Basic design Presentation serves the purpose of initiating creativity and there by appreciation of visual language.
Basic design studios help to unlock students creativity and enhance spatial perception.
Basic design & visual arts (Elements of design)Ar.Shakti Nanda
Lecture and presentation on Elements of Design for students of architecture, fine art and photography. semester - I (2015), Sri Sri University, Odisha. 7+1 Elements of design explained (Point, Line, Shapes, Space, Form, Texture, Value, Colour) in details with examples for better understanding. Content compiled from books and internet.
There are a lot of rules and best practices to consider when designing anything (regardless of the medium– website, print campaign, keynote presentation, etc.), and the process can easily become overwhelming to the uninitiated. Fortunately, various sets of principles exist to help lay out the general premise of a design. There are nine principles, and the process becomes vastly simpler after learning the concepts behind this set. Most of the time, after some practice and comprehension, the principles begin to work subconsciously within the back of your mind, guiding the creative process.
This book, just like the first edition, compiles
the work of many hands (and keyboards) and
conversations. It has been made possible by the
generous contributions of numerous people, to
whom I would like to express my gratitude.
First, I must acknowledge my current and
former students, who have taught me volumes
and who continue give me the energy to keep
going. I must thank all of the former students
who contributed work to the first edition especially,
including Theresa Isaacson, Leanne Larson,
Ardella Pieper, Cory Sherman, and Justin
Thomson. Denise Haertl, Dan Effenheim, Anne
(Cleary) Olsen, and Angela Ska, now professional
designers, all willingly handed over
portfolios for inclusion in this edition. Current
students who contributed work and help include
Kristy Bokelman, Anne Harmer, and
Randi Steinbrecher. And I thank former exchange
students Elke Kalvelage, Jessica
Tebbe, and Dirk Olbrich for allowing me to include
some of their fine work.
I have been amazed and touched by the
generosity of members of the design community
who shared time and contributed projects:
my friend Lynn Barnhouse at Meyer, Scherer
& Rockcastle Architects, who contributed a
great deal of work and gave hours of her time;
Jane Rademacher, Lisa Miller, and Bob Albachten;
and Thom Lasley, of RSP Architects.
Others who took time out of very busy schedules
to contribute include Thomas Oliphant;
Jim Smart, of Smart Associates; Jim Moeller, at
Arthur Shuster Inc.; Craig Beddow, of Beddow
Design; Deborah Kucera, of TKDA; Janet Lawson,
of Janet Lawson Architectural Illustration;
and Robert Lownes, of Design Visualizations;
Harris Birkeland; and Aj Dumas.
I must acknowledge and thank my colleagues
at the University of Wisconsin–Stout.
Courtney Nystuen, a wonderful teacher and architect,
contributed in many ways. Bill Wikrent,
who is talented, knowledgeable, and very generous,
deserves special thanks. And this edition
would not have been finished in this decade
without the gift of a sabbatical: thank you to the
Sabbatical Committee. Jack Zellner and Kristine
Recker Simpson deserve thanks for willingly
contributing their fine work.
This project would not have been possible
without the help of my husband, Roger Parenteau,
support from our daughter, Anna, and
a fair amount of terror generated by young
Luc to keep things interesting.
There are a lot of rules and best practices to consider when designing anything (regardless of the medium– website, print campaign, keynote presentation, etc.), and the process can easily become overwhelming to the uninitiated. Fortunately, various sets of principles exist to help lay out the general premise of a design. There are nine principles, and the process becomes vastly simpler after learning the concepts behind this set. Most of the time, after some practice and comprehension, the principles begin to work subconsciously within the back of your mind, guiding the creative process.
This book, just like the first edition, compiles
the work of many hands (and keyboards) and
conversations. It has been made possible by the
generous contributions of numerous people, to
whom I would like to express my gratitude.
First, I must acknowledge my current and
former students, who have taught me volumes
and who continue give me the energy to keep
going. I must thank all of the former students
who contributed work to the first edition especially,
including Theresa Isaacson, Leanne Larson,
Ardella Pieper, Cory Sherman, and Justin
Thomson. Denise Haertl, Dan Effenheim, Anne
(Cleary) Olsen, and Angela Ska, now professional
designers, all willingly handed over
portfolios for inclusion in this edition. Current
students who contributed work and help include
Kristy Bokelman, Anne Harmer, and
Randi Steinbrecher. And I thank former exchange
students Elke Kalvelage, Jessica
Tebbe, and Dirk Olbrich for allowing me to include
some of their fine work.
I have been amazed and touched by the
generosity of members of the design community
who shared time and contributed projects:
my friend Lynn Barnhouse at Meyer, Scherer
& Rockcastle Architects, who contributed a
great deal of work and gave hours of her time;
Jane Rademacher, Lisa Miller, and Bob Albachten;
and Thom Lasley, of RSP Architects.
Others who took time out of very busy schedules
to contribute include Thomas Oliphant;
Jim Smart, of Smart Associates; Jim Moeller, at
Arthur Shuster Inc.; Craig Beddow, of Beddow
Design; Deborah Kucera, of TKDA; Janet Lawson,
of Janet Lawson Architectural Illustration;
and Robert Lownes, of Design Visualizations;
Harris Birkeland; and Aj Dumas.
I must acknowledge and thank my colleagues
at the University of Wisconsin–Stout.
Courtney Nystuen, a wonderful teacher and architect,
contributed in many ways. Bill Wikrent,
who is talented, knowledgeable, and very generous,
deserves special thanks. And this edition
would not have been finished in this decade
without the gift of a sabbatical: thank you to the
Sabbatical Committee. Jack Zellner and Kristine
Recker Simpson deserve thanks for willingly
contributing their fine work.
This project would not have been possible
without the help of my husband, Roger Parenteau,
support from our daughter, Anna, and
a fair amount of terror generated by young
Luc to keep things interesting.
Paper Presentation on Microsoft Dynamics ERP Training at BVB MBA
Evolution of the Course initiated by department and VARNAAZ in MBA department at B V Bhoomaraddi College of Engineering & Technology
A Powerpoint Presentation of a selection of beautiful Quotes for constant Reflection to help us grow in Wisdom and Compassion. The quotes and pics were sent to me through an email from a Dhamma friend.
Cyber Warfare is the current single greatest emerging threat to National Security. Network security has become an essential component of any computer network. As computer networks and systems become ever more fundamental to modern society, concerns about security has become increasingly important. There are a multitude of different applications open source and proprietary available for the protection +-system administrator, to decide on the most suitable format for their purpose requires knowledge of the available safety measures, their features and how they affect the quality of service, as well as the kind of data they will be allowing through un flagged. A majority of methods currently used to ensure the quality of a networks service are signature based. From this information, and details on the specifics of popular applications and their implementation methods, we have carried through the ideas, incorporating our own opinions, to formulate suggestions on how this could be done on a general level. The main objective was to design and develop an Intrusion Detection System. While the minor objectives were to; Design a port scanner to determine potential threats and mitigation techniques to withstand these attacks. Implement the system on a host and Run and test the designed IDS. In this project we set out to develop a Honey Pot IDS System. It would make it easy to listen on a range of ports and emulate a network protocol to track and identify any individuals trying to connect to your system. This IDS will use the following design approaches: Event correlation, Log analysis, Alerting, and policy enforcement. Intrusion Detection Systems (IDSs) attempt to identify unauthorized use, misuse, and abuse of computer systems. In response to the growth in the use and development of IDSs, we have developed a methodology for testing IDSs. The methodology consists of techniques from the field of software testing which we have adapted for the specific purpose of testing IDSs. In this paper, we identify a set of general IDS performance objectives which is the basis for the methodology. We present the details of the methodology, including strategies for test-case selection and specific testing procedures. We include quantitative results from testing experiments on the Network Security Monitor (NSM), an IDS developed at UC Davis. We present an overview of the software platform that we have used to create user-simulation scripts for testing experiments. The platform consists of the UNIX tool expect and enhancements that we have developed, including mechanisms for concurrent scripts and a record-and-replay feature. We also provide background information on intrusions and IDSs to motivate our work.
It's More Fun in the Philippines - A Descriptive-Evaluative Study Determining Persons-with-Disability (PWD) Friendly Features of Hotels in Metro Manila
Answers the following questions:
What is prototyping?
What are the different types of prototypes?
What is it used for?
How do you prototype for usability testing?
Menggambar Flora dan Fauna (Drawing Plants and Animals)Murni ati
Drawing is one of the oldest forms of human expression within the visual arts. It is generally concerned with the marking
of lines and areas of tone onto paper/other material,
Top 5 Indian Style Modular Kitchen DesignsFinzo Kitchens
Get the perfect modular kitchen in Gurgaon at Finzo! We offer high-quality, custom-designed kitchens at the best prices. Wardrobes and home & office furniture are also available. Free consultation! Best Quality Luxury Modular kitchen in Gurgaon available at best price. All types of Modular Kitchens are available U Shaped Modular kitchens, L Shaped Modular Kitchen, G Shaped Modular Kitchens, Inline Modular Kitchens and Italian Modular Kitchen.
Transforming Brand Perception and Boosting Profitabilityaaryangarg12
In today's digital era, the dynamics of brand perception, consumer behavior, and profitability have been profoundly reshaped by the synergy of branding, social media, and website design. This research paper investigates the transformative power of these elements in influencing how individuals perceive brands and products and how this transformation can be harnessed to drive sales and profitability for businesses.
Through an exploration of brand psychology and consumer behavior, this study sheds light on the intricate ways in which effective branding strategies, strategic social media engagement, and user-centric website design contribute to altering consumers' perceptions. We delve into the principles that underlie successful brand transformations, examining how visual identity, messaging, and storytelling can captivate and resonate with target audiences.
Methodologically, this research employs a comprehensive approach, combining qualitative and quantitative analyses. Real-world case studies illustrate the impact of branding, social media campaigns, and website redesigns on consumer perception, sales figures, and profitability. We assess the various metrics, including brand awareness, customer engagement, conversion rates, and revenue growth, to measure the effectiveness of these strategies.
The results underscore the pivotal role of cohesive branding, social media influence, and website usability in shaping positive brand perceptions, influencing consumer decisions, and ultimately bolstering sales and profitability. This paper provides actionable insights and strategic recommendations for businesses seeking to leverage branding, social media, and website design as potent tools to enhance their market position and financial success.
Book Formatting: Quality Control Checks for DesignersConfidence Ago
This presentation was made to help designers who work in publishing houses or format books for printing ensure quality.
Quality control is vital to every industry. This is why every department in a company need create a method they use in ensuring quality. This, perhaps, will not only improve the quality of products and bring errors to the barest minimum, but take it to a near perfect finish.
It is beyond a moot point that a good book will somewhat be judged by its cover, but the content of the book remains king. No matter how beautiful the cover, if the quality of writing or presentation is off, that will be a reason for readers not to come back to the book or recommend it.
So, this presentation points designers to some important things that may be missed by an editor that they could eventually discover and call the attention of the editor.
Between Filth and Fortune- Urban Cattle Foraging Realities by Devi S Nair, An...Mansi Shah
This study examines cattle rearing in urban and rural settings, focusing on milk production and consumption. By exploring a case in Ahmedabad, it highlights the challenges and processes in dairy farming across different environments, emphasising the need for sustainable practices and the essential role of milk in daily consumption.
Can AI do good? at 'offtheCanvas' India HCI preludeAlan Dix
Invited talk at 'offtheCanvas' IndiaHCI prelude, 29th June 2024.
https://www.alandix.com/academic/talks/offtheCanvas-IndiaHCI2024/
The world is being changed fundamentally by AI and we are constantly faced with newspaper headlines about its harmful effects. However, there is also the potential to both ameliorate theses harms and use the new abilities of AI to transform society for the good. Can you make the difference?
Expert Accessory Dwelling Unit (ADU) Drafting ServicesResDraft
Whether you’re looking to create a guest house, a rental unit, or a private retreat, our experienced team will design a space that complements your existing home and maximizes your investment. We provide personalized, comprehensive expert accessory dwelling unit (ADU)drafting solutions tailored to your needs, ensuring a seamless process from concept to completion.
2. DEFINITION OF ARCHITECTURAL SKETCHING
• In the early design process, designers draw diagrams and sketches to
explore ideas and solutions. Designers are trained to use paper and
pencil to develop conceptual designs.
• They draw to develop ideas and communicate their thinking through
the act of drawing. Design drawing is an iterative and interactive act
involving recording ideas, recognizing functions and meaning in the
drawings, and finding new forms and adapting them into the design.
3. WHY SKETCHING?
• In the early design process, designers draw diagrams and sketches to
explore ideas and solutions.
• Drawings are mental tools. Architects sketch to help themselves to
see and understand the form they work with, and to communicate
with others.
• Despite the fact that these drawings may seem crude, they are
valuable in understanding how designers work because each of them
serves its purpose in a work of importance.
• Each line in a drawing plays a role. It could represent an outline of a
form or a path of force (e.g., wind, rain, or light ray). Architectural
design deals with both form and function.
4. BENEFIT FOR ARCHITECTURE:
Express design concepts, volume, and inspiration quickly before they
become concrete hard-line drawings
Sketch by Sou Pierre Jeanneret
7. FOR CONSTRUCTION MANAGEMENT
To describe specific details of a problems or opportunities on the job
site to the architect or subcontractors.
8. 3 TYPES OF SKETCHING:
1- Conceptual sketches: can reveal the essence of a complex idea. The challenge in the
concept sketch is to clearly communicate the design intention.
2-Analytical sketches: can be used to analyse a building , space or component. These can
be created at any stage of the design process.
3-Observational sketches: can be used to describe aspects of building exploring materials
colors and space.
10. Frank Llyod Wright
Annunciation Greek Orthodox Church, Wauwatosa, Wisconsin, 1956, The Frank
Lloyd Wright Foundation, FLLW 5611.001, 37 30 in., Graphite pencil and color
pencil on white tracing paper
the patina of his process shows as he
layers guidelines, ruled lines, erasures,
shading, and notes. The sketch displays a
front elevation and a circular plan; they
correspond to each other so that Wright
could easily transfer measurements. With
this technique, he could also study how
the decisions made in plan affected the
elevation and vice versa. Onto this
drawing he sketched freehand details and
changes reflecting his design exploration.
11. Eero Saarinen
David Ingalls Rink perspective study, c. 1953, Yale University Library Archives,
#5081, 8.5 11 in., Dark pencil on yellow notebook paper
Sketched on yellow notebook paper with
soft graphite pencil, the image is fluid, as
the smooth line of the arched spine has
been sketched in a continuous stroke.
Shadows, foliage, and texture enrich the
three-dimensional illusion and contextual
qualities. One aspect that feels
unresolved is the connection of the spine
to the ground in front of the entry doors.
Here the graphite appears darker,
possibly because Saarinen reworked the
terminus, hoping to find a solution with
the perspective. Saarinen’s design
process assisted him to understand
complex forms, as is evidenced by this
beautiful and confident sketch.
12. Le Corbusier
Plate #322, Sketchbook 18, Volume 2, sketch of Notre-Dame-du-Haut, Ronchamp, February
1951, Le Corbusier Foundation/ARS, Carnet E18, 15 10 cm, Ink on sketchbook paper
Uneven and scratchy lines were used
to explore the chapel in plan and
elevation. The roof to the right has
been identified with the letter ‘a.’ On
the legend which describes his
symbols, ‘a’ has been translated as
arrondi, ‘round.’ Given the abstract
qualities of the sketch. Le Corbusier
may not have trusted his memory. He
needed a written note to remind him
of that moment in the process when
he was thinking about the curve of
the eave. He also made notes of his
personal dialogue, writing ‘attention’
to remind himself about fissuring. The
sketchbooks were for him a discussion
about design and also represented
memory devices.
13. Mies van der Rohe
Theater project combined elevation and section, May 1909, The Museum of Modern
Art/SCALA/ARS/Art Resource, #717.1963, 121.9 243.8 cm, Graphite, ink, and cut and
pasted papers
An unusual technique Mies employed was
that of collage. These paper constructions
were abstractions, not intended to portray
spatial qualities. Mies has carefully cut
rectangles to place in comparative
positions on the page. He used bright
yellow paper drawn over with a grid,
resembling fenestration or an abstract
pattern.The forms reflect Mies’ bold and
simple rectangles which act as planes
slicing through space. Without a ground
line, the assembly provides little
orientation. The proportions may be valid
from any direction..
14. Alvar Aalto
Preliminary studies
for Finlandia Hall,
Helsinki,
1962/1967–1971,
1973–1975, The
Alvar Aalto
Museum/Drawing
Collection, 30 75cm,
Pencil on tracing
paper
The extensive archive of Aalto’s drawings and sketches reveals his unique hand.
Besides the light touch and fluid lines, these lines show strong ending points, as if he
was hesitating before removing the pencil from the surface or was reinforcing
prominent edges. He entered a dialogue with the images, as they contain notes,
calculations, and, in many instances, have been oriented from numerous directions.
Aalto frequently strengthened important walls or boundaries by continually drawing
over his lines. this sketch has been crowded with calculations and partially complete
forms.
15. Santiago Calatrava
Sketch plan (05), 1999, Tenerife Concert Hall, Santa Cruz de
Tenerife, Canary Islands, Spain, 30 40cm, Watercolor
The plan, section, and elevation sketches for this
Concert Hall have been explored with graphite and
watercolor in hues of blue and yellow. Without the
written explanation of the building, it would be
difficult to understand the abstraction of the plan. It
appears to show several levels and the exterior of the
structure all at the same time. The graphite under the
watercolor has been sketched freehand. Although the
sketch appears to illustrate the refinement of form,
Calatrava was also employing color to help him
imagine the space and, possibly, represent the building
materials.
16. Charles Correa
Housing sketch, 1999
Surprisingly controlled, the sketch
seems to be comprised of very few
marks. It appears Correa rarely lifted
the pencil off the paper; he had a
strong concept in mind before he
began.
This beautiful sketch is fascinating.
Without guidelines and with a precision
hand, the sketch was drawn from either
observation or a very clear image in the
mind’s eye. Seeing the outline of the
design was enough for Correa to place
himself in the sketch and imagine the
look and function of the building. His
ability to view the potential of an idea
with a simple sketch is a remarkable
skill; it requires much practice as well
as a thoughtful relationship with his
17. Hiroshi Hara
Mid-Air City sketch, 1989, Umeda Sky Building, Kita-ku, Osaka, Japan, 1993, 3.6 2.1 in., Air
brush, colored pencil
This sketch appears to be an early
‘ideogram’. Their light color assists
in their cloud-like nature and
weightlessness. The sketch’s
ambiguous forms and tenuous
connections provide a surreal
impression, as if Hara is designing
an ideal future at the same time
he is designing for OsakaHara’s
sketch describes the idea of the
Umeda building, rather than the
reality of its final construction
18. Gregg Lynn
Preliminary exploratory museum sketches, March 3, 2002, Ark of
the World Museum and Interpretive Center, San Juan, Costa
Rica, 11 14 in., Ink on Bristol paper
Strikingly, these forms appear to be sketched
with construction in mind. Although
perspectives dashed lines within their shapes
show the form in its entirety. This use of see-
through glasses to view what is behind
suggests this sketch is not about viewing the
finished composition, but rather inspecting the
joining of the shapes. Although a common
drawing convention, the dotted line technique
helps to clarify the relationships between the
pieces and adds to the three-dimensional
impression. Rendered in blue ink, the sketch is
remarkably precise – very necessary when
viewing such complex combinations
19. Enric Miralles
Preliminary plan sketch, 1992–1995, Mollet del Valles, Park and Civic
Center, Barcelona, Spain, Graffiti and crayon on paper
this image uses crayon to form crucial
relationships between concepts or
representational spaces. Appearing as
plan or elevation relationships, the sketch
reflects conceptual intentions. ‘The main
interest of this project is, maybe, not
directly in it, but in the “themes” it
contains; the suspension of the building,
of graffiti becoming architecture, of the
colors of a painting becoming places, of
the suspended spirit of the users, of
unexpected connection.…We like to think
that this project could be a project for the
“near future,” being a more subtle
conception of architecture. Architecture
of the future will be lighter, especially in
its concept.’
20. REFERENCES:
BOOKS:
-ARCHITECTS’ DRAWINGS, A Selection of Sketches by World Famous Architects Through History, KENDRA SCHANK SMITH, ,
Architectural Press An imprint of Elsevier Linacre House, Jordan Hill, Oxford, 2005.
-Basics Architecture 01: Representational Techniques By Lorraine Farrelly
ACADEMIC PAPERS:
- Functional and Formal Reasoning in Architectural Sketches Ellen Yi-Luen Do Design Machine Group Department of
Architecture, University of Washington Seattle, WA 98195-5720 ellendo@u.washington.edu
21. thank you for pretending to pay attention
PREPARED AND PRESENTED BY ELIE EID