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First National Correctional Congress / Declaration of Principles of 1870
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Side A: First National Correctional Congress
On this site in October, 1870 a group of enlightened individuals dedicated to the reformation and improvement of penal systems met. This first Congress of the National Prison Association, now known as the American Correctional Association, adopted a far-sighted philosophy of corrections. This philosophy, embodied in its Declaration of Principles, remains today as the basic guide for modern correctional systems.
Side B: Declaration of Principles
The treatment of criminals by society is for the protection of society. But since such treatment is directed to the criminal rather than to the crime, its great object should be his moral regeneration. Hence the supreme aim of prison discipline is the reformation of criminals, not the infliction of vindictive suffering.
Erected 1970 by The American Correctional Association, The Ohio Historical Society, and the Cincinnati Historical Society. (Marker Number 5-31.)
Location. Marker is in Cincinnati, Ohio, in Hamilton County. Marker is at the intersection of Central Avenue and W. 5th Street (U.S. 27), on the right when traveling south on Central Avenue.
the principles of French picturesque garden theory. I argue that the picturesque is not the product of an interaction between the two arts, but rather the product of a parallel development which is predicated on the recognition and appreciation of artifice in opposition to nature and shared by both art forms. The ramifications of picturesque garden theory are interpreted in the iconography of the Bains d'Apollon. When Hubert Robert was given the commission to create a new setting for Girardon's sculptures of Apollo Attended by the Nymphs of Thetis, the monument was designed to recall the earlier history of the Grotto of Thetis. Robert's artificial rocher exploited the myth of Mount Parnassus: Louis XVI, like his great grandfather, would bring the arts and sciences to Versailles. However, the contrived naturalism of the Bains d'Apollon stressed man's harmony with nature thus mitigating the allegorical message and its potential political power.
Go to Page with image in the Internet Archive
Title: The principles and practice of perimetry
Creator: Peter, Luther C. (Luther Crouse), 1869-1942, author
Publisher: Philadelphia : Lea & Febiger
Sponsor: Open Knowledge Commons, U.S. National Library of Medicine
Contributor: U.S. National Library of Medicine
Date: 1923
Language: eng
Description: xii, 281 pages :
Includes bibliographical references and index
digitized. 2019
If you have questions concerning reproductions, please contact the Contributing Library.
Note: The colors, contrast and appearance of these illustrations are unlikely to be true to life. They are derived from scanned images that have been enhanced for machine interpretation and have been altered from their originals.
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I chose this picture for my Principles of Design for Contrast because you can see the high contrast in the building and the rainbow. it pops out more than the other parts of the picture.
Schaël Michanol (drums).
Principles of Joy @ Léman Blues Festival, Annemasse (74), France, 12.09.2025.
(c) Christophe Losberger
and open border doctrines
or maybe
you shouldn't pave over good agricultural soils without a vision of something better ahead
Mendocino County, CA, 2022
Presentatiemoment van het werkcollege AV&IT Principles van Design & Technologie op de Erasmushogeschool Brussel (EhB). De studenten van het 1ste jaar Multec maakten zelf aan de hand van een Arduino een muziekcontroller. Ze leerden in de Labs bij Ann Peeters coderen, ontwerpen, solderen, laseren en ze ontdekten hoe ze een digital audio workstation konden aansturen. Op woensdag 6 december 2017 verdedigden ze hun project voor een veelkoppige jury van docenten, gasten en hogerejaars. Daarna namen ze het tegen elkaar op in een 'Clash of Sounds'. Hierbij zorgden een aantal 3de jaarsstudenten voor de omkadering en 'super vette' visuals die reageerden op hun muziek. Via een app kon er bovendien gestemd worden op je favoriete team. Proficiat aan het team van Beau, Cem en Matthijs, dat met een gehackte PS3-controller en goeie beats met de trofee ging lopen!
Foto: Dieter Blockmans
Principles created the Blueblindfold brand and the 'Don't Close Your Eyes' campaign for the UKHTC to create awareness of the problem of human trafficking.
This particular piece of work is a direct mail pack designed to persuade the people responsible for the creation of international law enforcement policy to adopt the BlueBlindfold campaign as their global campaign theme for human trafficking. It was distributed to key decision-makers around the world, prior to a meeting in August 08
MadeByPi, our digital division, created the website:
Like what we do? Want us to do it for you? Call Chris Woods on 0113 2262222 now or email chris.woods@principlesagency.co.uk
Principles of Web Design 6th Edition by Joel Sklar
ISBN-13:9781285852645 (978-1-285-85264-5)ISBN-10:1285852648 (1-285-85264-8)
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Portrait of Salaheddine Mezouar, Minister of Foreign Affairs during Africa Investment Forum 2018 - Signing of Principles by Financial Sector Players in November 2018, at Sandton Convention Centre, Johannesburg, South Africa.
I had the honour to shoot Aleks, Tina and Hanna while doing some areal acro on a beautiful sandy beach in Thailand's little paradise called Koh Phangan.
I had the honour to shoot Aleks, Tina and Hanna while doing some areal acro on a beautiful sandy beach in Thailand's little paradise called Koh Phangan.
The 12 principles are a guidline you must follow to achieve good animation.
Timing- is how it takes to complete an action, a ball bounce quickly fast timing bou
spacing is the difference between the two poses so as the ball bounces slower the spacing should get smaller.
squash and stretch (compression)- The illusion of weight and volume to a character as it moves. I have an extreme use of squash and stretch because my character jumps to move, the amount of use of squash and stretch depends on what is required in animating the scene. Usually it's broader in a short style of picture and subtler in a feature.
Anticipation- A movement that prepares the audience for a major action a character is about to perform, such as, starting to jump or change expression. My animation uses lots of anticpation because it jumps a lot of move a about because its got no legs. Feature animation is often less broad than short animation unless a scene requires it to develop a characters personality.
Staging- A pose or action should clearly communicate to the audience the attitude, mood, reaction or idea of the character as it relates to the story and continuity of the story line.
Straight ahead animation- starts at the first drawing and works drawing to drawing to the end of a scene. You can lose size, volume, and proportions with this method, but it does have spontaneity and freshness. Fast, wild action scenes are done this way. Pose to Pose is more planned out and charted with key drawings done at intervals throughout the scene. Size, volumes, and proportions are controlled better this way, as is the action. The lead animator will turn charting and keys over to his assistant. An assistant can be better used with this method so that the animator doesn't have to draw every drawing in a scene. An animator can do more scenes this way and concentrate on the planning of the animation. Many scenes use a bit of both methods of animation.
Follow through and overlapping action- When the main body of the character stops all other parts continue to catch up to the main mass of the character, such as arms, long hair, clothing, coat tails or a dress, floppy ears or a long tail (these follow the path of action). Nothing stops all at once. This is follow through. Overlapping action is when the character changes direction while his clothes or hair continues forward. The character is going in a new direction, to be followed, a number of frames later, by his clothes in the new direction. "DRAG," in animation, for example, would be when Goofy starts to run, but his head, ears, upper body, and clothes do not keep up with his legs. In features, this type of action is done more subtly. Example: When Snow White starts to dance, her dress does not begin to move with her immediately but catches up a few frames later. Long hair and animal tail will also be handled in the same manner. Timing becomes critical to the effectiveness of drag and the overlapping action.
Slow in, Slow out- As action starts, we have more drawings near the starting pose, one or two in the middle, and more drawings near the next pose. Fewer drawings make the action faster and more drawings make the action slower. Slow-ins and slow-outs soften the action, making it more life-like. For a gag action, we may omit some slow-out or slow-ins for shock appeal or the surprise element. This will give more snap to the scene.
Arcs- All actions, with few exceptions (such as the animation of a mechanical device), follow an arc or slightly circular path. This is especially true of the human figure and the action of animals. Arcs give animation a more natural action and better flow. Think of natural movements in the terms of a pendulum swinging. All arm movement, head turns and even eye movements are executed on an arcs.
Secondary Action- This action adds to and enriches the main action and adds more dimension to the character animation, supplementing and/or re-enforcing the main action. Example: A character is angrily walking toward another character. The walk is forceful, aggressive, and forward leaning. The leg action is just short of a stomping walk. The secondary action is a few strong gestures of the arms working with the walk. Also, the possibility of dialogue being delivered at the same time with tilts and turns of the head to accentuate the walk and dialogue, but not so much as to distract from the walk action. All of these actions should work together in support of one another. Think of the walk as the primary action and arm swings, head bounce and all other actions of the body as secondary or supporting action.
Exaggeration- Exaggeration is not extreme distortion of a drawing or extremely broad, violent action all the time. Its like a caricature of facial features, expressions, poses, attitudes and actions. Action traced from live action film can be accurate, but stiff and mechanical. In feature animation, a character must move more broadly to look natural. The same is true of facial expressions, but the action should not be as broad as in a short cartoon style. Exaggeration in a walk or an eye movement or even a head turn will give your film more appeal. Use good taste and common sense to keep from becoming too theatrical and excessively animated.
Solid Drawing- The basic principles of drawing form, weight, volume solidity and the illusion of three dimension apply to animation as it does to academic drawing. The way you draw cartoons, you draw in the classical sense, using pencil sketches and drawings for reproduction of life. You transform these into color and movement giving the characters the illusion of three-and four-dimensional life. Three dimensional is movement in space. The fourth dimension is movement in time.
Appeal- A live performer has charisma. An animated character has appeal. Appealing animation does not mean just being cute and cuddly. All characters have to have appeal whether they are heroic, villainous, comic or cute. Appeal, as you will use it, includes an easy to read design, clear drawing, and personality development that will capture and involve the audience's interest. Early cartoons were basically a series of gags strung together on a main theme. Over the years, the artists have learned that to produce a feature there was a need for story continuity, character development and a higher quality of artwork throughout the entire production. Like all forms of story telling, the feature has to appeal to the mind as well as to the eye.
The Twelve Basic Principles of Animation are a set of principles of animation which where introduced by two Disney animators, Ollie Johnston and Frank Thomas.
1 - Timing and Spacing
Timing means the number of frames or drawings for an action, which is responsible to the speed of the animation. Correct timing make characters and objects move in a realistic way. An example of this, is using weights to show movements like picking some up or pushing an object. Timing is also very important for creating and showing different moods as well as emotions. Timing can show many things within an animation and is considered one of the most important.
2 - Anticipation
Anticipation is preparing the audience for an certain action on your animation it also impacts the visual appearance to create a more realistic look. A good example of this is someone wanting to jump high, the character will pause and bend the legs before jumping. This draws attention to what is about to happen next.
3 - Straight Ahead and Pose to Pose
Straight ahead action and Pose to Pose are Two different approaches to the drawing process. Straight ahead action is drawing out a scene which is done frame by frame from its start to finish, while the second one Pose to Pose involves starting with the drawing on the necessary key frames, and then going back over and filling in the gaps later on. Straight ahead action seems to create a more smooth as well as a dynamic look to the movement, this means it is better for creating realistic animations. Pose to Pose is more used for emotional scenes. It is not rare that these two techniques would be used together.
4 - Arcs
Most normal and natural actions always follow an arch, all realistic animation should follow this principle by following arcs for greater sense realism. An example could be a sneaky walk and arcing the characters back. There is only one good exception, this is mechanical movement. This normally moves in straight lines.
5 - Follow through and Overlapping
Follow through and overlapping is two closely related techniques which help to render different movements a lot more realistically. Follow through means that loosely tied parts of a body should continue moving after the character has stopped. Overlapping action is the tendency for parts of the body to move at different speeds and rates, this means that a body part will move at different times than others.
6 - Staging
Staging as it is known in theatre and film is to direct attention, and show what the clear and greatest importance is. There are many different ways that it can be shown by many different ways, like the placement of a character in the scene. The different usage of lights and shadows as well as the camera will show what is the focus of the scene.
7 - Slow In and Slow Out
A characters animation needs time to accelerate and slow down. This principle of animation makes the animation look more realistic. By adding more frames at the beginning and end of an animation this expresses the moving poses with fewer frames in the middle. An example of this is starting to run and stop running but also can effect objects like balls bouncing on the floor.
8 - Secondary Action
Adding more to the main animation gives more life to the scene. Some examples of this is facial animation as well as a character walking and swinging his arms. This can help the main animation however not take focus away from it. Depending on the scene depends on the secondary needed. Another example is facial animation during a dramatic scene.
9 - Exaggeration
Exaggeration is a very useful effect especially for animation. Exaggeration the movement makes the animation a lot more appealing to the viewer. There are different levels of exaggeration, the level of exaggeration can depend on if there is a certain aim like realism or a certain style. There is a classic definition which was to remain true to reality, however it is just showing it in a more extreme form. If a scene contains many different aspects, there should be a good balance in how the elements are exaggerated.
10 - Squash and Stretch
Squash and Stretch, give a sense of weights and flexibility to drawn objects. It can be applied to simple objects, like a bouncing ball, or something a little more complex, like a body or human face. The squash and Stretch can be exaggerated to a certain extent depending on the type of realism or style. The most important aspect is the fact that object's volume does not change when squashed or stretched.
11 - Solid Drawing
Solid drawing means taking into account forms in three-dimensional space, giving them volume and weight. The animator has to understand the basics of 3D shapes as well as anatomy, weight, balance, light and shadow and others. For a classical animator, this involved taking art classes and producing sketches from life. Modern-day computer animators draw less because of what computers can offer them, however their work can benefit greatly from a basic understanding of the animation principles, and what is to offer to basic computer animation.
12 - Appeal
Appeal is for a cartoon character where it could be called charisma in an actor. A character who is appealing is not necessarily a good guy as villains and monsters can also be appealing. the important thing is that the viewer feels the character is real and interesting when watching. There is many ways for making a character come across better with the audience. A more pleasing character can have a symmetrical or baby-like face which thens to appeal more, when a more complicated or hard to read face will drop on its appeal.