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Just a little graphical joke, aimed squarely at my good flickr friend KeriIvy.
Well Keri, you asked, so here you are!
=)
Chinatown is a Chinese translation of the trademarks in a graphical way. It’s a carefully arranged series of artworks showcasing 20 well-known western brand logos with maintained visual and narrative continuity.
Chinatown reflects our branded world of the near future through Chinese letters with the classical neon sign style of China. It uses basic words for translation, such as “Caramel Macchiato” for “Starbucks” in order to maintain the visual continuity. By arranging the words this way, Chinatown pushes viewers to ask themselves what it means to see, hear, and become fully aware. Chinatown also demonstrates our strangeness to 1,35 billion people in the world, when you can’t read Chinese.
All of the brand logos are converted to neon style spot colours and line-based variations. Indeed, neon lights are not used as a medium but as a cultural symbol, which represent the aesthetic codes of China.
© 2012 / 2014
Highly graphical HDR of a candy shop in Charleston, South Carolina.
Copyright © Kay Gaensler Photography - Creative Commons.
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a graphical description about how to make a CP for this shape.
Edit. I forgot to mention that for this model there are three parallel directions:
(i) horizontal, 0°or 180° with mountain/ridge fold.
(ii) diagonal which defines the almost vertical lines of the parallelogram, with mountain/ridge fold.
(III) and the diagonal inbetween, with valley fold.
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A more graphical view on a pond in autumn.
Take a look at this a bit bigger on a black background
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Ilustración a ficha MAVIT 175 (Museo Arqueológico Virtual de Toledo): mavit.toletho.com/ficha.php?inventario=000175
English summary: This is a 15th century inscription from Toledo that is in Spanish but written with Arabic letters! The only known interpretation is by Rodrigo Amador de los Ríos from 1896 in a complicated text. Above I am trying to give a graphical presentation of his work.
For the platform MAVIT - Virtual Archeological Museum of Toledo.
MAVIT 000175 - Friso Mudéjar con Inscripción Aljamiada
Objeto: Friso Mudéjar con Epígrafe Aljamiada de Yesería en la Casa de Conde Esteban
Contexto cultural: Mudéjar
Datación: Siglo XV
Material: yeso
Procedencia: Plaza del Consistorio, nº 5, Toledo, conocida como "Casa del Conde Esteban"
Ubicación actual: In Situ. Una copia del friso está expuesto en el Museo Arqueológico Nacional, Madrid
Estado de visibilidad actual: El original es visitable a veces durante el concurso de patios del Corpus Cristi. Copia del friso visible en el MAN.
Dimensiones: Longitud = 247 cm; Anchura = 49 cm
Referencias:
•De la Casa del Conde Esteban tenemos ya fichado un arco de yesería MAVIT 000160, trasladado al MAN en Madrid. Como ya se menciona allí, se conserva otra yesería in situ, cuyo tarjetón de portada tiene una copia en el MAN. El presente ficha está dedicada exclusivamente a este tarjetón (friso) por la gran curiosidad de llevar una inscripción aljamiada. Se trata de un texto en castellano, una oración católica, escrito con letras árabes.
•Las últimos dos fotos de la ficha - por cortesía de Francisco Javier Martín Fernández - muestran la yesería original en la Casa del Conde Esteban. Encima de la puerta está el friso que nos ocupa aquí.
•El friso contiene letras árabes en relieve junto con elementos de decoración vegetal: hojas y tallos en espiral. En varios puntos las letras están decoradas con lacerías. Además las letras son una mezcla de caracteres cúficos (“cuadrados”) y nesji (cursivo). Esta mezcla de los dos grafías dentro de las mismas palabras es probablemente propia del mudéjar tardío, parece que no ocurre en inscripciones clásicas de por ejemplo la Alhambra.
•RODRIGO AMADOR DE LOS RÍOS tiene el mérito de haber publicado una lectura del epígrafe en 1896 según lo cual pone: “¡Santa María! ¡Mi mejor Guía! ¡A nos mejores!” añadiendo la explicación “es decir mejóranos, haznos mejores, ruega por nosotros (…)”.
•El texto se repite dos veces. La primera foto de nuestra ficha muestra la frase entera más el principio de la segunda repetición.
•En la segunda foto ofrecemos una representación gráfica del repaso textual pormenorizado hecho por Don Amador en el artículo. Su labor ha sido complejo, interpretando cada letra y buscando las palabras que podrían formar. Conforme con el uso “normal” de las letras árabes el texto se lee desde derecha hacia izquierda, y solo se marcan los consonantes mas las vocales largas – un poco parecido a mensajes en el móvil, cuando por ejemplo escribimos “vms” por “vamos”.
•La frase está hecha de 22 letras formando seis palabras. Las primeras dos palabras “santa” y “María” están totalmente fundidas, y en la continuación tampoco está siempre claro donde acaba una palabra y empieza el siguiente. Para facilitar la separación visual, en 2a hemos alternado los colores rojo y verde entre las palabras al marcar las letras. En 2b escribimos las letras árabes en distribución espacial parecida al que tienen en el friso, subrayando las seis palabras con los colores rojo o verde. En 2c se escriben las palabras en una línea. En 2d se intercambian las letras árabes por letras latinas. Finalmente se da la vuelta a la dirección de escritura y se rellenan las vocales cortas con minúsculas.
•Pueda que otras variantes de lectura sean posibles, pero según sepamos, hasta el día de hoy nadie ha presentado un alternativo.
•Probablemente nunca se podrá demostrar, pero no es imposible que también caían algunas epígrafes católicas aljamiadas en la gran eliminación de epígrafes arábigas del espacio público toledano en 1575.
*Ficha del Friso en CERES ceres.mcu.es/pages/ResultSearch?Museo=MAN&txtSimpleSe... [consultado en Julio-2015]
*AMADOR DE LOS RÍOS, Rodrigo: “La casa del Conde Esteban de Toledo”, en Boletín de la Sociedad Española de Excursiones, nº 35, 1896, pp. 205-212 ddd.uab.cat/pub/bolsocespexc/bolsocespexc_a1896m1v3n35.pdf
*Sobre Aljamía es.wikipedia.org/wiki/Aljam%C3%ADa
*José Miguel Puerta Vílchez: Leer La Alhambra - Guía visual del Monumento a través de sus inscripciones, 2012, ISBN: 978-84-95856-29-6
This texture is free for your use only in another graphical work (not for you to copy and put elsewhere). All I ask is that you kindly credit me for it's origin and I would also like to see what you did with it, so post a link here in the comments.
If you go to the original size, you can download full size JPEG. I tried to upload the original 8-bit TIFF created from the 12.2MP RAW file and enhanced in GIMP(GEGL) but Flickr thought it was to big (32MB). If you really need it, I can send it to you.
This photo was taken on the St. Louis riverfront and the stripe pattern is painted on the sides of the floodwall where there are openings for rail or roads.
This is a small graphical representation of what happens to me when people start talking about football. It's not that I don't understand. I just don't care. I can work up some limited enthusiasm for the World Cup but that's about it as genuine involvement goes. Last week's European Super League fiasco had me alternately feeling like this or laughing out loud at the stupidity of a closed NFL style no relegation system. It seems like they hadn't really thought that one through properly... hahahahaha. That's more than enough football chat for now.
Cheers
id-iom
no graphical GROUP ICONS, INVITES, or AWARDS please (they will be [sadly] deleted) - just comments and critiques ---
please click here: www.flickr.com/photos/qmusaget/?details=1" to see HOW our streams should be preferably [or at least optionally] viewed ---
no graphical GROUP ICONS, INVITES, or AWARDS please (they will be [sadly] deleted) - just comments and critiques ---
please click here: www.flickr.com/photos/qmusaget/?details=1" to see HOW our streams should be preferably [or at least optionally] viewed ---
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Don't Stop Believin'
Just a small town girl
Livin' in a lonely world
She took the midnight train goin' anywhere
Just a city boy
Born and raised in south Detroit
He took the midnight train goin' anywhere
A singer in a smoky room
A smell of wine and cheap perfume
For a smile they can share the night
It goes on and on and on and on
Strangers waiting
Up and down the boulevard
Their shadows searching in the night
Streetlight people
Living just to find emotion
Hiding somewhere in the night
Working hard to get my fill
Everybody wants a thrill
Payin' anything to roll the dice just one more time
Some will win, some will lose
Some were born to sing the blues
Oh, the movie never ends
It goes on and on and on and on
Strangers waiting
Up and down the boulevard
Their shadows searching in the night
Streetlight people
Living just to find emotion
Hiding somewhere in the night
Don't stop believin'
Hold on to that feelin'
Streetlight people
Don't stop believin'
Hold on
Streetlight people
Don't stop believin'
Hold on to that feelin'
Streetlight people
Lyrics: Neal Schon; Jonathan Cain, Steve Perry
Journey album, 1981
www.youtube.com/watch?v=2NQIPVqLMUg
Performance: Glee, 2009
I like the graphical nature of the umbrella and the play of the shadows with the lounge chairs.
Early morning (before people starting sitting on the lounges). Grand Arizona Resort. Phoenix, AZ
HemeshGui is a graphical user interface I made for the excellent Hemesh library by Frederik Vanhoutte. HemeshGui can render shapes directly in Sunflow via Christopher Warnow's SunflowApiApi. This is an annotated version of all the gui elements with a few tips 'n tricks thrown in as well ;-)
Click here to see the full resolution version.
Blogpost: CreativeApplications
Source Code: Google Code
This is a graphical comparison of JPG resolutions (in MegaPixels) of all digital cameras I have bought and used since 2003. The size of a rectangle in pixels is exactly the real size (or rather resolution) of a picture taken with the appropriate camera.
But, this picture says absolutely nothing about absolute sensor sizes!
The year in parentheses is the year I bought the respective camera (which is not necessarily the year in which the camera came into the market).
Rounding "a little" like that
20.4 = approx. 20,
11.1 = approx. 10,
6.3 = approx. 6.25,
interestingly, there are only two prime numbers needed (2 and 5) to calculate all (approximated) sizes and therefore all ratios between the different (approximated) sizes:
80 = 16 x 5 = (2^4) x 5
50 = 2 x 25 = 2 x (5^2)
20 = 4 x 5 = (2^2) x 5
16 = (2^4)
10 = 2 x 5
8 = (2^3)
6.25 = 25 / 4 = (5^2) / (2^2)
and consequently
80 / 50 = 8 / 5 = (2^3) / 5
80 / 20 = 4 = (2^2)
80 / 16 = 5
80 / 8 = 10 = 2 x 5
80 / 6.5 = 128 / 10 = 64 / 5 = (2^6) / 5
80 / 5 = 16 = (2^4)
50 / 20 = 5 / 2
50 / 16 = 25 / 8 = (5^2) / (2^3)
50 / 10 = 5
50 / 6.25 = 8 = (2^3)
50 / 5 = 10 = 2 x 5
20 / 16 = 5 / 4 = 5 / (2^2)
20 / 8 = 5 / 2
20 / 6.25 = 32 / 10 = 16 / 5 = (2^4) / 5
20 / 5 = 4 = (2^2)
16 / 10 = 8 / 5 = (2^3) / 5
16 / 8 = 2
16 / 6.25 = 256 / 100 = 64 / 25 = (2^6) / (5^2)
16 / 5 = (2^4) / 5
10 / 8 = 5 / (2^2)
10 / 6.25 = 16 / 10 = 8 / 5 = (2^3) / 5
10 / 5 = 2
8 / 6.25 = 128 / 100 = 32 / 25 = (2^5) / (5^2)
8 / 5 = (2^3) / 5
6.25 / 5 = 5 / 4 = 5 / (2^2)
Last but not least another interesting fact is, that increasing resolution by factor 4, what needed some generations of cameras (or sensors) before, is done now with one and the same sensor in one single camera, the OM-D E-M1X:
5 MP ---> 5 MP x 4 = 20 MP (for me this took 16 years)
20 MP ---> 20 MP x 4 = 80 MP (OM-D E-M1X)
"I will be happy if you don't use any kind of graphical art or image with your comment "
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The hard graphical elements of this image contrast with the more organic human elements of the one below, even though both depict the San Francisco Transamerica pyramid. The first in a vertorama from the foot of the monster, the second is shot from Pier 45.
Budapest Art Factory (BAF) is pleased to present to you SYN-Phon; sound performance based on graphical notation by Candaş Şişman featuring Barabás Lőrinc & Ölveti Mátyás. Candaş Şişman resided at BAF for the month of June as part of its cross-cultural fertilization residency program. SYN-Phon will be exhibited to act, as a visual linguistic delivery through a cogitation segment followed by the sound performance on June 29th.
Graphical notation and composition by Candas Sisman
Barabás Lőrinc: Trumpet
Ölveti Mátyás: Cello
Candas Sisman: Electronics and Objects
Budapest Art Factory (BAF) is pleased to present to you SYN-Phon; sound performance based on graphical notation by Candaş Şişman featuring Barabás Lőrinc & Ölveti Mátyás. Candaş Şişman resided at BAF for the month of June as part of its cross-cultural fertilization residency program. SYN-Phon will be exhibited to act, as a visual linguistic delivery through a cogitation segment followed by the sound performance on June 29th.
Graphical notation and composition by Candas Sisman
Barabás Lőrinc: Trumpet
Ölveti Mátyás: Cello
Candas Sisman: Electronics and Objects
no graphical GROUP ICONS, INVITES, or AWARDS please (they will be [sadly] deleted) - just comments and critiques ---
a modification of www.viemu.com/a_vi_vim_graphical_cheat_sheet_tutorial.html for colemak layout.
Please ask if you want it as SVG or PDF.
Colemak TypeMatrix version: www.flickr.com/photos/sermoa/5421396271/