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architectural visualization www.newvisual3d.com，
architectural rendering www.archeast.com，
Free internet home : www.internethome.me，
Free Online Translation: www.internethome.me/translation/，
How I organized and colour-coded quotations and relevant sections of books ready to write a section of my Ed.D. thesis.
Fresh House | Visualization Project
Project : L.A Apartment
Co-op with the company in Norway
Visualized by Fresh House
Blog post: makaylalewis.co.uk/2015/06/25/sketchnotes-ixda-london-loc...
#TodaysDoodle (No. 244)
©ALL RIGHTS RESERVED.
These photographs are presented here for viewing purposes ONLY. They are NOT royalty free images and may not be used for commercial or private use. Any such use of these images is strictly prohibited. Specifically, these images may not be copied, manipulated, be reproduced by any other means nor sold without prior written consent by the author.
Fresh House | Visualization Project
Project : L.A Apartment
Co-op with the company in Norway
Visualized by Fresh House
The Department of Transportation's Urban Art Program, the Brooklyn Arts Council, the Red Hook Initiative and artists Valeria Bianco, Shagun Singh and Michelle Brick present Silent Lights, a light installation that is activated by the surrounding sounds of traffic. The five gateway structures are installed on the sidewalk at Navy Street and Park Avenue in Brooklyn. The structural elements line the pedestrian pathway and LED lights have been mounted to these structures. As cars make noise, the installation visualizes the noise by illuminating the metal panels in different colors allowing passersby to see the noise in various patterns rather than just hearing the noise. The artists aim to bring awareness to noise pollution within the surrounding community.
NYCDOT Urban Art Program, pARTners
Silent Lights by Valeria Bianco, Shagun Singh and Michelle Brick
Myrtle Avenue Brooklyn Partnership
Sidewalk, Myrtle Avenue Brooklyn Partnership
SXSW Launchpad 2016 “Using VR in Storytelling”
PANELISTS:
· R.B. Brenner, Director, School of Journalism, The University of Texas at Austin
· Deepak Chetty, UT3D Lecturer in Virtual Reality, The University of Texas at Austin
· Shannon McGregor, Ph.D. Candidate, School of Journalism, The University of Texas at Austin
· Luis Francisco-Revilla, Manager and Research Associate, Visualization Interfaces and Applications Group, Texas Advanced Computing Center, The University of Texas at Austin
Outdoor & Recreational Areas with pool and coold unbrella , dust view with a free and confortable feeling
Finished by 3dmax, vray & ps
made by frontop
Exploring one million manga images on 287 megapixel HIPerSpace on supervisualization system at Calit2, San Diego.
This photo: Jeremy Douglass (Post-doctoral researcher, Software Studies Initiative) and Florian Wiencek (Jacobs-University, Bremen)
Visualize the Problem. Project Management Knowledge Cafe JUAS Global Project Management Workshop. pmbokcafe.com
Print directly from ReplicatorG into a 3d toolpath visualizer!
Super naive (and buggy) approach to visualizing GCode paths using Processing. Requires the GCode class from my RepG git (use gcode_to_port branch), the 'GCODE machine connected over a socket' driver, and the code available here:
Visualization of top 5,000 most frequent keywords extracted from over 4,000,000 Wikipedia articles. (Wordle viz software used at www.wordle.net/)
This visualization shows the teams sorted by rank. On the top, it shows goals scored, on the bottom it is goals conceded.
Fresh House | Visualization Project
Project : L.A Apartment
Co-op with the company in Norway
Visualized by Fresh House
From: www.connectedaction.net
Connections among the Twitter users who recently tweeted the word SMWF when queried on June 3, 2011, scaled by numbers of followers (with outliers thresholded). Connections created when users reply, mention or follow one another.
Layout using the "Group Layout" composed of tiled bounded regions. Clusters calculated by the Clauset-Newman-Moore algorithm are also encoded by color.
A larger version of the image is here: www.flickr.com/photos/marc_smith/5795332939/sizes/o/
A detailed list of top between participants in the network is here:
Top most between users:
@socialmediawf
@itweb
@pleasefindthis
@chrisroperza
@walterpike
@capetown
@corpcomexercise
@mikeander
@mikeasaunders
@dazmsmith
Graph Metric: Value
Graph Type: Directed
Vertices: 414
Unique Edges: 4939
Edges With Duplicates: 447
Total Edges: 5386
Self-Loops: 0
Connected Components: 20
Single-Vertex Connected Components: 17
Maximum Vertices in a Connected Component: 393
Maximum Edges in a Connected Component: 5383
Maximum Geodesic Distance (Diameter): 6
Average Geodesic Distance: 2.516092
Graph Density: 0.030102584
More NodeXL network visualizations are here: www.flickr.com/photos/marc_smith/sets/72157622437066929/
NodeXL is free and open and available from www.codeplex.com/nodexl
NodeXL is developed by the Social Media Research Foundation (www.smrfoundation.org) - which is dedicated to open tools, open data, and open scholarship.
The book, Analyzing social media networks with NodeXL: Insights from a connected world, is available from Morgan Kaufmann and from Amazon.
Marc Smith on Twitter.
Video Mapping Philipp Geist_Ano da Alemanha no Brasil - Cristo Redentor 2014
„VideoInstallation by Philipp Geist“, "Philipp Geist", „Copyright 2014 Philipp Geist / VG Bildkunst 2014", www.videogeist.de, mail@videogeist.de, „Rio de Janeiro“, "Santa Marta“, „Cristo Redentor“, „Dona Marta“, „Deutschland + Brasilien 2013-2014“, “Alemanha + Brasil 2013-2014”
Photo by Fred Pacífico
©2014 Philipp Geist / VG BIldkunst Bonn
Rio de Janeiro / Brazil 2014
Christ statue (Cristo Redentor) – May 12
Dona Marta favela – May 15 and 16,2014
Light Art-Video-Mapping-Installations Philipp Geist in Rio de Janeiro / Brazil 2014
on the Christ statue (Cristo Redentor) - May 12 and in the Dona Marta favela - May 15 and 16,
2014
Installation Philipp Geist Year of Germany in Brazil 2013/2014
Concept Time Drifts May 2014
At the end of the Year of Germany in Brazil 2013/2014, the artist Philipp Geist (Berlin, 1976)
develops two light installations in Rio this year; the first one on the world-famous Christ statue
(Cristo Redentor) and the other installation in the Santa Marta favela. For the installation the
artist presents artistic-liberal and poetic German and Brazilian themes and develops a building
and floor light installation of colored words and phrases in Portuguese, German, and in other
international languages. The installation deals with cultural characteristics and achievements of
both countries and visualizes the issues of time and space, volatility and presence in a free
artistic style. The two projects are in fact a double project which is combined. The installation
on the symbol of Rio and Brazil, the Christ statue, is recorded and projected onto the small
buildings and huts of the favela. The Christ statue, which has been built to protect the city and
the sailors, is symbolically projected on the shantytown, the favela, in a protective way. The
installation in the favela will be seen not only on a facade as a large cinema projection or as a
static image, but on several winding buildings, the roofs, the floor and on the steps. Thus, the
visitor becomes a part of the installation and can immerse into the projection and the light and
introduce himself. Chalk crayons are put out on the streets in the favela and the young and old
residents and visitors can write and paint words on the street, the ground, the stairs or even on
the house walls. The residents and several institutions should be addressed to submit words and
associations dealing with Rio, Brazil and Germany.
For the installation, which was shown at the Luminale in 2012, the artist Philipp Geist won the
German Lighting Design Award 2013 (Deutscher Lichtdesign-Preis 2013) in the category Light Art.
The series 'Time Drifts' is characterized by the complex and subtle way of visualizing various
currents and voices in cultural contexts and to provide institutions and visitors with the
opportunity of substantive participation: different personalities, visitors and institutions may be
addressed in advance and then contribute words and associations. Current and historico-cultural
topics are researched in advance by the artist and then integrated in a sensitive and subtle way.
The projection dismisses the use of screens, because concepts and associations are projected on
a large area onto the floor surface on several facades and in theater fog. Over the course of two
days, the installation can be seen on-site in the favela on May 15 and 16 and on the Cristo
Redentor on May 12 for a day.
Short, tall, young and old visitors can interactively participate in the installation by tracing and
adding words with colored chalk crayons available on the streets. Thus, over the period of the
installation, a carpet of words is evolved with terms that are contributed locally by the visitors
by means of the temporary and volatile 'medium' of chalk crayons. Philipp Geist develops in this
way a dialogue between the place, the visitors and his artistic work.
The concrete, tangible projection of the architecture and the static terms on the floor area
represents the facts and visible relics that are responsible for our understanding of history. The
transparent and volatile projection in the fog reminds us that part of the history can not be
preserved and that it is created in our individual imagination in a single moment. Words are
briefly visible as a metaphor for transience and then disappear again. This interplay of the
various text and image layers in the space refers to the location and the history/-ies of Brazil
and Germany and the cultural exchange between the two countries. The visitors themselves are
part of the installation: they dive into the large floor projection. In this way, different
perspectives and experiences of space are unified. Abstract passages which are created, then
overlapped and displaced by each other symbolize the constant changes in history, the passage
of time and the transience of existence. Even the understanding of the past is in the flux. The
modern writings and formations created on the computer establish a connection to the present
and the possibilities of today's technology and show that the perception of history and culture
depends always on the possibilities and constraints of the present.
'Time Drifts - Words of Berlin' is part of a series of installations, which has been shown in recent
years by Philipp Geist, and which are always re-developed site-specifically and adapted to the
local conditions: In October 2012, Philipp Geist showed the installation on the entire Potsdamer
Platz (public square) and the Kolhoff Tower and Renzo Piano Tower skyscrapers. In April 2012
the installation was shown at the Luminale in Frankfurt where it was seen by more than 40,000
visitors and thus the main project of the Luminale 2012. In 2011, Philipp Geist presented the
'Time Drifts' installation in Vancouver at the Jack Poole Plaza, as well as in Montreal on the
Place des Arts in 2010. The 'Timing' installation was shown at the 2009 Glow Festival in
Eindhoven. In the end of 2009, on the occasion of the birthday of the King of Thailand, 2-3
million visitors saw his facade installation at the royal throne in Bangkok. Other projects
include: 'Timelines' at the prestigious Pallazzio delle Esposizioni (Rome, 2007), 'Time Fades'
at the Cultural Forum of Berlin and 'Broken Time Lines' at the old spa Kurhaus Ahrenshoop
(Germany, 2008).
Geist's projects are primarily characterized by their complexity concerning the integration of
space, sound and motion images. His video mapping installations waive screens and transform a
wide range of architectures in moving, picturesque light sculptures which challenge the viewer's
perception of two- and three-dimensionality.
www.alemanha-brasil.org/br/node/8542
www.alemanha-brasil.org/Programme/Dia/2014-05-12
www.alemanha-brasil.org/Programme/Dia/2014-05-15
www.alemanha-brasil.org/Programme/Dia/2014-05-16
---------------
Arte de luz - Instalações de Mapeamento de Vídeo por Philipp Geist no Rio de Janeiro / Brasil
2014 no Cristo Redentor no dia 12 de maio e na favela Santa Marta nos dias 15 e 16 de maio de
2014
Instalação Philipp Geist Ano Alemanha + Brasil 2013/2014
Conceito Time Drifts Maio 2014
No final do ano Alemnaha + Brasil 2013/2014, o artista Philipp Geist (1976, Berlim) desenvolverá
duas instalações de luz no Rio; uma delas será exibida na mundialmente famosa estátua do
Cristo Redentor, e a outra na favela Santa Marta. Para a instalação, o artista traz temas teutobrasileiros
de maneira liberal-artística e poética desenvolvendo instalações de luz em edifícios e
no solo a partir de palavras e conceitos coloridos em Português, Alemão e em outros idiomas
internacionais. A instalação lida com as peculiaridades e realizações culturais de ambos os países
e visualiza as questões de tempo e espaço e de volatilidade e presença no estilo liberal-artístico.
Os dois projetos em questão representam um projeto duplo que é combinado. A instalação na
estátua do Cristo Redentor, como um símbolo do Rio e do Brasil, será gravada e projetada nos
pequenos prédios e barracos da favela. A estátua do Cristo Redentor, que foi erguida para
proteger a cidade e os marinheiros, será então projetada como um símbolo de proteção em uma
favela. A instalação na favela é visto não apenas em uma fachada como uma projeção grande de
cinema ou como uma imagem estática, mas em vários prédios sinuosos, em telhados, no solo e
nas escadas. Desta maneira, o visitante conseguirá ser parte da instalação e imergir e mergulhar
na projeção e na luz. Na favela, será distribuído giz para pintura de rua, e os moradores e
visitantes, tanto jovens quanto velhos, podem escrever e pintar conceitos na rua, no solo, nas
escadas ou até mesmo nas paredes das casas. Os moradores e diversas instituições serão
convidados a contribuir com conceitos e associações que representam o Rio, o Brasil e a
Alemanha.
Para as instalações apresentadas na Luminal em 2012, o artista Philipp Geist ganhou o
'Deutscher Lichtdesign-Preis 2013” (Prêmio Alemão de Desenho de Luz de 2013) na categoria
Arte de Luz. A série Time Drifts caracteriza-se pela forma complexa e sutil de visualizar várias
correntes e vozes em contextos culturais e de oferecer a instituições e aos visitantes a
oportunidade de participar: diferentes personalidades, visitantes e instituições podem ser
contatados antecipadamente para contribuir com termos e associações. Temas atuais, históricos
e culturais serão previamente pesquisados pelo artista e, depois, integrados de uma forma
sensível e sutil. A projeção é realizada sem o uso de telas porque conceitos e associações são
projetados, em grande estilo, sobre a superfície do solo, em diversas frentes e envolvidos em
fumaça. Ao longo de dois dias, a instalação estará em exibição em 15 e 16 de maio na favela, e
em 12 de maio, por um dia, no Cristo Redentor.
Visitantes jovens e velhos podem envolver-se na instalação e traçar ou adicionar palavras com
giz colorido, que será distribuído, e assim participar interativamente na instalação. Desta
maneira, durante a duração da instalação, será desenvolvido um tapete de palavras. As palavras
serão fornecidas, no próprio local, pelos visitantes usando o giz, um meio temporário e volátil.
Philipp Geist desenvolve assim um diálogo entre o local, os visitantes e seu trabalho artístico.
A área de projeção concreta e tangível da arquitetura e os termos estáticos sobre a superfície do
solo representam os fatos e as relíquias visíveis que compõem a nossa compreensão da história. A
área de projeção transparente e sumindo por dentro da fumaça lembra que parte da história não
pode ser preservada e que ela é criada na nossa imaginação individual momentaneamente.
Conceitos são brevemente visíveis, como uma metáfora para a transitoriedade e, logo mais,
desaparecem. Esta interação entre as várias camadas de texto e de imagens no espaço refere-se
à localização e a(s) história(s) do Brasil e da Alemanha e o intercâmbio cultural entre os dois
países. Os próprios visitantes tornam-se parte da instalação: eles imergem na grande projeção
do solo. Desta forma, diferentes perspectivas e experiências de espaço são unidas. Passagens
abstratas que são formadas, sobrepostas e suprimidas pela próxima simbolizam as mudanças
contínuas na história, a passagem do tempo e a transitoriedade da existência. A compreensão do
passado também está no fluxo. As fontes e formações modernas criadas no computador
estabelecem uma conexão com o presente e com as possibilidades da tecnologia de hoje: a
percepção da história e da cultura sempre dependende das capacidades e limitações do
presente.
'Time Drifts - Words of Berlin' faz parte de uma série de instalações, que foram apresentadas
durante os últimos anos por Philipp Geist e que são sempre redesenvolvidas para as condições
locais específicas: em outubro de 2012, Philipp Geist exibiu a instalação em toda a praça
Potsdamer Platz (Berlim) e nos dois arranha-céus Kolhoff Tower (Berlim) e Renzo Piano Tower
(Londres). Em abril de 2012, a instalação foi apresentada no evento da Luminal em Frankfurt
onde foi vista por mais de 40.000 visitantes sendo o principal projeto da Luminal de 2012. Em
2011, Philipp Geist mostrou a instalação Time Drifts na praça Jack Poole Plaza em Vancouver
bem como em Montreal, Canadá, no centro de arte Place des Arts, em 2010. A instalação Timing
foi exibida no Glow Festival de 2009 in Eindhoven, Holanda. No final de 2009 e por ocasião do
aniversário do rei tailandês, aprox. 2 a 3 milhões de visitantes viram a instalação de fachada do
artista no trono real em Banguecoque. Seus outros projetos incluem: Time Lines, no prestigiado
museu Palazzio delle Esposizioni (Roma, 2007); Time Fades, no Fórum Cultural de Berlim;
Broken Time Lines, no antigo spa Kurhaus Ahrenshoop (Alemanha, 2008).
Os projetos de Geist são principalmente caracterizados por sua complexidade na integração de
espaço, som e imagens de movimento. Suas instalações de mapeamento de vídeo renunciam
telas e transformam uma ampla gama de arquiteturas em esculturas móveis e pitorescas que
desafiam a percepção do espectador de duas e três dimensões.
www.alemanha-brasil.org/br/node/8542
www.alemanha-brasil.org/Programme/Dia/2014-05-12
www.alemanha-brasil.org/Programme/Dia/2014-05-15
www.alemanha-brasil.org/Programme/Dia/2014-05-16
---------------
Lichtkunst-VideoMappingInstallationen Philipp Geist in Rio de Janeiro / Brasilien 2014
an der Christstatue (Cristo Redender) 12.5 und in der Favela Santa Marta 15./16.5.2014
Installation Philipp Geist Deutsch-Brasilianisches Jahr 2013/2014
Konzept Time Drifts Mai 2014
Zum Abschluss des Deutsch-Brasilianischen-Jahres 2013/2014 entwickelt der Berliner Künstler
Philipp Geist (1976) zwei Lichtinstallation in Rio d.J.; eine an der weltbekannten Christstatue
(Cristo Redender) und in die andere Installation in der Favela Santa Marta. Bei der Installation
greift der Künstler künstlerisch frei und poetisch deutsch brasilianische Themen auf und
entwickelt eine Gebäude- und Boden-Lichtinstallation aus farbigen Wörtern und Begriffen in
portugiesischer, deutscher, und in weiteren internationalen Sprachen. Die Installation thematisiert
kulturelle Besonderheiten und Errungenschaften beider Länder und visualisiert die Themen Zeit
und Raum, Flüchtigkeit und Präsenz in freien künstlerischen Art. Bei den beiden Projekten handelt
es sich um ein Doppelprojekt welches kombiniert wird. Die Installation auf das Wahrzeichen von
Rio und Brasilien die Christstatue, wird aufgenommen und auf die kleinen Gebäude und Hütten
der Favela projiziert. Die Christstatue die errichtet worden ist um die Stadt und Seeleute zu
schützen, wird so symbolisch schützend über ein Armenviertel die Favela projiziert. Dabei ist die
Installation in der Favela nicht nur auf einer Fassade als große Kinoprojektion oder als statisches
Bild zu sehen, sondern auf mehreren verwinkelten Gebäuden, den Dächern, den Boden und auf
den Stufen. Der Besucher wird vielmehr auf diese Weise selbst Teil der Installation und kann in die
Projektion und das Licht eintauchen und sich einbringen. In der Favela werden Strassenmalkreide
ausgelegt und die Bewohner und Besucher ob jung oder alt können Begriffe auf die Strasse, den
Boden, die Treppenstufen oder sogar auf die Hauswände schreiben und malen. Die Bewohner und
verschiedene Institutionen sollen angesprochen werden Assoziationen und Begriffe die für Rio,
Brasilien und Deutschland stehen einzureichen.
Für die 2012 bei der Luminale gezeigten Installation hat der Künstler Philipp Geist den Deutschen
Lichtdesign-Preis 2013 in der der Kategorie Lichtkunst gewonnen. Die Serie 'Time Drifts' zeichnet
sich aus durch die komplexe und die subtile Möglichkeit, verschiedenste Strömungen und
Stimmen in kulturellen Kontexten sichtbar zu machen und Institutionen und Besuchern die
Möglichkeit zur inhaltlichen Partizipation zu geben: Es können verschiedene Persönlichkeiten,
Besucher und Institute im Vorfeld angesprochen werden, die Begriffe und Assoziationen
beisteuern. Aktuelle und kulturhistorische Themen werden im Vorfeld vom Künstler recherchiert
und auf sensible und subtile Weise integriert. Die Projektion verzichtet auf den Einsatz von
Leinwänden, denn Begriffe und Assoziationen werden grossflächig auf die Bodenfläche, auf
mehrere Fassaden und in Theaternebel projiziert. Über den Zeitraum von 2 Tagen wird die
Installation vor Ort in der Favela am 15/16.Mai und die Installation am Cristo Redentor am 12.Mai
für einen Tag zu sehen sein.!
Kleine, große, junge und alte Besucher können sich einbringen in die Installation und mit farbiger
Straßenmalkreide, die ausgelegt wird, Wörter nachzeichnen und hinzufügen und so interaktiv an
der Installation teilnehmen. Über die Installationsdauer entsteht somit ein Wörterteppich aus
Begriffen, die vor Ort von den Besuchern selbst mittels dem temporären und flüchtigen 'Medium'
der Strassenmalkreide beigesteuert werden. Geist entwickelt auf diese Weise einen Dialog
zwischen dem Ort, den Besuchern und seiner künstlerischen Arbeit. ! !
Die konkrete, greifbare Projektionsfläche der Architektur und die statischen Begriffe auf der
Bodenfläche stehen für die Fakten und sichtbaren Relikte, welche unser Geschichtsverständnis
ausmachen. Die transparente, sich verflüchtigende Projektionsfläche im Nebel erinnert daran,
dass ein Teil der Geschichte nicht konserviert werden kann und im Moment in unserer individuellen
Vorstellung entsteht. Begriffe werden als Metapher für die Vergänglichkeit kurzzeitig sichtbar und
verschwinden sofort wieder. Dieses Zusammenspiel der verschiedenen Text- und Bildschichten im
Raum verweist auf den Ort und die Geschichte(n) Brasiliens und Deutschlands und den kulturellen
Austausch beider Länder. Die Besucher selbst werden Teil der Installation: sie tauchen in die
großflächige Bodenprojektion ein. Auf diese Weise vereinen sich unterschiedliche Perspektiven
und Raumerfahrungen. Abstrakte Passagen, die sich aufbauen, überlagern und gegenseitig
verdrängen, symbolisieren die ständigen Veränderungen in der Geschichte, den Lauf der Zeit und
die Flüchtigkeit des Seins. Auch das Verständnis von der Vergangenheit ist im Fluss. Die
modernen Schriften und Formationen, die am Computer entstanden sind, stellen eine Verbindung
zur Gegenwart und den Möglichkeiten der heutigen Technik her und zeigen, dass die Erfahrbarkeit
von Geschichte und Kultur immer von den Möglichkeiten und Rahmenbedingungen der Gegenwart
abhängig ist.
'Time Drifts - Words of Berlin' ist Teil einer Serie von Installationen, die Philipp Geist in den letzten
Jahren gezeigt hat, und die dabei immer wieder neu an die örtlichen Gegebenheiten ortsspezifisch
weiterentwickelt wird: Im Oktober 2012 zeigte Geist die Installation auf dem gesamten Potsdamer
Platz und den beiden Hochhäusern Kolhoff Tower und Renzo Piano Tower. Im April 2012 wurde die
Installation in Frankfurt auf der Luminale gezeigt, wurde von mehr als 40.000 Besuchern gesehen
und war das Hauptprojekt der Luminale 2012. Im Jahr 2011 zeigte Geist die Installation Time Drifts
in Vancouver am Jack-Poole Plaza, ebenso wie in Montreal am Place des Arts in 2010. Die
Installation 'Timing' war 2009 auf dem Glow Festival in Eindhoven zu sehen. Ende 2009 sahen
anlässlich des Geburtstages des thailändischen Königs ca. 2-3 Millionen Besucher seine
Fassadeninstallation am königlichen Thron in Bangkok. Andere Projekte waren u.a.: 'Time Lines'
am renommierten Museum delle Esposizioni (2007), 'Time Fades' am Berliner Kulturforum,
'Broken Time Lines' am alten Kurhaus Ahrenshoop (2008).
Geists Projekte sind in erster Linie gekennzeichnet durch ihre Komplexität in der Integration von
Raum, Ton und Bewegbild. Seine Video-Mapping-Installationen verzichten auf Leinwände und
verwandeln verschiedenste Architekturen in bewegte, malerische Lichtskulpturen, die die
Wahrnehmung der Betrachter von Zwei- und Dreidimensionalität herausfordern.
A 3D data visualization tool for viewing word frequencies as they change over time or sequential texts. This data set represents words occurring in the State of the Union speeches from Reagan to Obama (developed by Ross Tredinnick and Carrie Roy)
If you also want to make any infographic or motion graphic you can contact me and this is link of all my infographic work
You can add me on skype mohit.lakhmani1 or mail me at mohit_freelance@rediffmail.com or call me at +91 9540705769
Thanks
Mohit Lakhmani
Infographic resume is the best way to make your presence more visible in front of employer when he gets so many regular resumes. Infographic resume actually help both recruiter and job seeker. Job seeker will be visible from crowd and recruiter will find easy to understand candidate qualification, identity, experiences as IG resume help to separate each category by using different illustration and typography. So this is the example of one corporate sales manager resume.
Personas is a component of the Metropath(ologies) exhibit, currently on display at the MIT Museum by the Sociable Media Group from the MIT Media Lab.
"Personas demonstrates the computer's uncanny insights and its inadvertent errors, such as the mischaracterizations caused by the inability to separate data from multiple owners of the same name."
Here (view large), the Personas tool processes 15 pages of web search results for the term "Ryan Ozawa" to provide this visualization of a personal profile. There is at least one other Ryan Ozawa out there, but I'd guess that 97 percent of the data used relates to me.
VersuS visualizing the realtime lives of cities: Riots in Rome Oct. 15th
www.artisopensource.net/2011/10/16/versus-rome-october-15...
The peaks and contours you see represent the intensity of the communication and conversations that was taking place from the start of the protest (at 3pm local time) up until its approximate end (at 8pm local time).
VersuS is a spin-off of the ConnectiCity project, and is intended to create tools that enable us to imagine, design and create new tools for the city.
In VersuS the possibility to capture and understand the conversations on social networks is transformed into a tool with infinite uses, whose main goal is to propose new forms of citizenship and human relation, and to also suggest institutions and organizations new methodologies and strategies to innovate their understanding of their cities and to design and enact strategies which leverage new possible sensibilities to the desires, wishes and creativity of people.
These and other topics will be discussed at the Share Festival and at the FabLab Italia during the first week of November 2011, where we will present the “VersuS” project.
This stuff is confusing. This should help.
Client work:
www.mint.com/blog/finance-core/a-visual-guide-to-the-fina...
How to visualize memory usage on Linux
If you would like to use this photo, be sure to place a proper attribution linking to xmodulo.com
Painting and markings:
Since the Bf 109 F base remained untouched, livery and exotic markings make this a whif. I added in my complemented background the idea that withdrawn German aircraft from Northern Africa were transferred to the Eastern Front, matching Heller’s kit of a tropicalized Bf 109 F variant. This is not as fantastic as the idea might sound, such transfers frequently happened within the Luftwaffe at that time.
The livery was to “tell” this story, and I wanted to visualize the rushed period of time between the aircraft’s arrival at the Russian Front from Northern Africa and its immediate employment in Moldovan hands.
Consequentially, the livery would be based on standard German desert colors, but with the former operator’s markings painted over, and an additional makeshift camouflage and markings of the new operator and Axis forces tactical markings in the Eastern TO around late 1941 applied on top. Sounds complicated – but it’s the logical translation of the made-up background, and I think that such a concept makes a whif more convincing than just putting some obscure markings on an off-the-rack kit.
The original German scheme consists of a uniform RLM 79 (Sandbraun) on the upper surfaces and RLM 78 (Himmelblau) from below, with a hard, wavy medium height waterline. I just added some RLM 80 (Olivgrün) blotches to the upper surfaces, a typical field modification in Northern Africa. All RLM tones are enamels from Modelmaster’s Authentic line. Wing tips, propeller spinner and a ring on the cowling right behind it became initially white, because these original markings were to be barely visible on the finished kit.
The next step was to paint over the former German and African TO markings. This would probably have been done by German field crews, so I used RLM 76 (newly introduced in late 1941) and classic all-round RLM 02 for this task. With these tones, a virtual/non-existent white fuselage band was painted over, too. As a weird twist, the propeller boss remained white, though, somewhat reflecting the aircraft’s tactical code.
The new yellow ID markings (wing tip and engine undersides (both painted with Revell 310) and fuselage band (decal) were added at this stage, too. This already created a rather shaggy look. The red rudder is not a tactical marking – it is just a replacement part (basically painted with Humbrol 180), another weird color detail.
Finally, the new Moldovan operator’s markings were added. Since the desert camouflage is rather light, a darker makeshift camouflage was retrofitted. Many upper areas, mostly where the underlying RLM 79 was still visible, were crudely painted over with mottles and streaks in a tone I found in literature, called “Romanian Air Force Dark Green”, which is supposed to be close to classic US Olive Drab.
I used highly diluted Humbrol 108, unevenly applied with a short and hard brush, in an attempt to create a finish that looks as if different 1:72 mechanics had hastily overpainted the aircraft by hand, area by area. This final layer was taken down on the flanks into the RLM 78, as well as over the already overpainted former markings and onto the red replacement rudder, too.
In a final step, after the kit had been treated with a light black ink wash in order to emphasize contrast, the surfaces and esp. the leading edges as well as the cockpit area received a wet sanding treatment, lightening up again the final, dark camouflage and revealing the raised surface details of the Heller kit here and there.
Then the Moldovan markings were applied. The distinct roundels come from a Begemot MiG-29 decal set, the tactical code number comes from a Lend Lease P-40 in Soviet service (Trumpeter kit). On the fin, a flash in blue, yellow and red was added at the tip, too – these come from an Italeri HS 129, IIRC. I could not resist them due to the fact that the colors match up so well with the roundels and add another nice detail to the Bf 109! The yellow fuselage band comes from a Matchbox Me 262 kit, and a few stencils (e.g. the typical gasoline warning markings) were added, too, but not many. The decals also received another light sanding treatment for weathering, and, here and there, some very light dry-brushing with light grey (Revell 75) was done in order to simulate dust and more wear.
Finally the kit was sealed with matt acrylic varnish and some gun and exhaust soot stains added with grinded graphite, as well as some traces of flaked paint on the wings’ leading edges and around the cockpit.
I listed 'Recent DAYdreams' or aspirations/goals my mind comes up with for my future, and then tries to visualize into life. process: typed them up, and stuck them to the page.
To see my previous Lists 7 to 14 all in one place, visit my blog:
amandaroseblog.typepad.com/my_blog/2013/09/30-days-of-lis...
To see my previous Lists 1 to 6 all in one place, visit my blog:
amandaroseblog.typepad.com/my_blog/2013/09/30-days-of-lis...
You can read about my approach this time around and see photos of the cover and intro/outro pages here: amandaroseblog.typepad.com/my_blog/2013/08/my-sept-2013-b...
To follow along daily with my lists, follow me on instagram: @amanda_r0se