WEB DESIGN AND DEVELOPMENT,WEB DESIGNING CHENNAI
View allAll Photos Tagged designing
The highway running through 17,000 ft plus highland near Barlacha pass in Lahaul valley, Himachal Pradesh, India
© 2009. Todos los Derechos Reservados
Diseñando la ruta...
Serie - Foto Verano 2009 Asturias
Recuerdos del Verano, en ruta
Series - Photo Summer 2009 Asturias
Summer recollections, in route
I was doing a little designing and building and I liked the light and the way the shadows were falling on the things I was making. So, I took this shot
I created this Still Life image recently on a rainy day and too much idle time. It consumed me for several days designing, shooting and processing the end result. Hope you like it. (Edited in Lightroom, Photoshop and Topaz)
I may not be a mother in the literal sense but... in honour of my status as "oldest bitch in the house," I was granted a not-so-rare but very-much-appreciated day of my own designing yesterday. Mike took care of Echo and... for the first time in ages... I walked my old regular camera route. I passed the same things I see every day but... without little Echo... the difference is I'm free to stop and sniff and explore what interests ME!
I spotted this heron fishing off a rocky beach and slowly, stealthily, sneaked up on it. For what seemed a long time we both stood (okay, I was crouching) motionless, waiting for the same thing - for fish to come along, and the heron to grab one. I was thinking "action shot."
But the fishing was apparently not so good. And the heron flew off to another beach where he picked at barnacles and other foodstuffs that can't run or swim for their lives. Of course I followed him. And sneaked up even closer. And was able to get some tighter shots of his hairdo - which was changing dramatically and crazily in the gale-force gusts. I almost felt bad when I got home and did the download - he just looks so undignified. I'm tempted to do a multi-shot conglomerate that shows all his different do's... each one cuter than the last.
I also got some great shots of him in flight. And... for all the years I've been watching herons... I was kind of shocked to see big bright patches of pinky red on his (her?) wings. I had no idea they had this colouration. You can't really see it except when the wings are out.
Donald Mitchell Healey (DMH to friends and fans) was, by all accounts, one of the truly great characters of the motor industry. A pilot in World War I, DMH took to motor racing and rally in the '20s. By the mid-1930s he was designing and driving rally cars for Triumph, and won several important international events. When war broke out in 1939, he devoted himself to the war efforts.
At the conclusion of hostilities, DMH and family (especially his sons, Geoff and Bic) resumed making sports cars, this time under the Healey name. Their first effort, the Healey Silverstone, had an advanced chassis design and simple, aerodynamic bodywork. Lacking the resources (spelled "cash") to develop their own engines, the Healeys used the interesting and reasonably sporting Riley 2-liter twin-cam OHV engine. (Yes, you read that right: two cams, down in the block, each operating a separate bank of pushrods working the rockers of overhead valves.)
But like all racers, DMH wanted more power. The biggest news in the motoring world in those days was the 165-bhp Cadillac OHV V8, a comparatively light-weight and high-revving engine with great low-end torque and tremendous potential for making a light, good-handling chassis go very fast. DMH built at least one prototype, using a privately purchased Cadillac V8, which fitted nicely into the Silverstone chassis. (I have been fortunate enough to see this car. And again, that's not "one of these cars," it's "this one.")
So DMH took a steamship from England to the U.S., intending to strike a deal with Cadillac for several V8 engines.
On the way he met George Romney, president of the Nash Motor Corporation based in Kenosha, Wisconsin. George and DMH hit it off from the start, and Romney said that if things didn't go according to plan, he should look him up.
Well, Cadillac didn't give DMH the time of day—too busy (and too important) to sell motors to some tinkerer. DMH decided that rather than make the trip a total loss, he should look into the Nash connection.
Well, Romney was as good as his word, and a deal was struck not only for engines, but for some development of a sports-racing car. The Nash-Healey ended up taking 3rd overall (behind two Mercedes 300SLs) at the 1952 24 Hours of Le Mans—an amazing achievement for a six-cylinder pushrod block, in spite of Nash's disappointment at not winning against the highly developed twin-cam racing engines.
The final piece in the puzzle was the acquisition of bodywork from Pininfarina, Italy's premiere coachbuilder at the time (and my own Pininfarina car is at my elbow, urging me to delete "at the time").
500 Nash-Healeys were built, in coupe form as shown here but more popularly in a roadster. The five cars shown at Forest Grove therefore represent one percent of all Nash-Healey production; no one at the concours knew how many still remain.
Classic film buffs may recall the original Sabrina, with Humphrey Bogart, Audrey Hepburn, and William Holden. Bogart is the sober-sided chairman of the board of a wealthy family's financial institution, and younger brother Holden is the fast-living cad who romances Hepburn. The car in which Holden drives her home from the train station is a Nash-Healey roadster.
Oh, and about that title: In 1959, DMH tried again to secure V8 power for his sports cars, and once more crossed the Atlantic, this time to meet with his longtime friend and fellow racer Carroll Shelby (who had just won the 24 Hours, driving an Aston Martin). DMH got the same response from Chevrolet as he had earlier received from Cadillac, and furthermore was chastised by British Motor Corporation (BMC) management for attempting to go outside the firm's own engine sources. So sadly, Shelby had to look elsewhere for the Anglo-American hybrid he was working on... a little car known as the Cobra, and a story that might have started as early as 1952 if General Motors had not already perfected the art of sticking their heads up their uncommonly tight fundamental apertures.
Airship operations had been a footnote in modern history, having only seen some small success in the Leaftern front of the Brap War in the late 20s.
The roaring success of the Cervantino Skyfleet during both the Great Emmerian War and the Firestorm war in Avalonia thrust the concept of the airborne carrier into the public eye. The Skycarrier was now a force to be taken seriously, and governments scrambled to begin their own development programs.
Cervantes, seeking to maintain its lead, set about designing the next generation of Skycarrier: Faster, more maneuverable, and lifted by an advanced mixture of Helium-Whimsy gas.
© All rights reserved. Use without permission is illegal
Per una visione migliore, tasto “L”- For a better view press “L”
Per "FOTOGRAFANDO (solo contest)" foto FUORI CONCORSO
Shana is one of my favorite of the new Jem dolls.
She has a gorgeous face, and her hair is unique, super curly and of course purple!
I brushed it (it was quite some work!) and it turned back naturally into ringlets, but they're different from her original ou-of-the-box hair ;)
I'm guest designing at Scrapmagie kits this month and got to play with the yummy kit..here's one of the pages I made! =) That's me when I was teeny! =)
I did a small step-by-step about the dimensional hand-cut flower bunches, you can see it here: www.scrapmagie.com/en/nouv2.php
Thanks for peeking!
File: 2012003-0122
Shrub Hill Road, Worcester, Worcestershire, England, United Kingdom, on Friday 2nd November 2012, at around 10am.
What is this all about?
When doing a graphic design project, I prefer to try and do my own photography as much as possible, to use in my own creative works. I prefer to be less dependence on using stock images, this does not mean I don’t use stock images, I simply try not to use them too much.
This is what the professionals do. When designing posters, book covers, any graphic design works, or even when making television episodes or movies, they try to create their own as much as they can, and try to use less stock footage as little as possible.
That is because if you use stock images or footage, you have to apply for permissions from, or even pay royalties to, the original artists/illustrators/photographers for using their images/footage in your works, especially if your works are for commercial purposes.
My works are not for commercial purposes, just mostly as self-training to keep up my skills, and often for show. For example, if I apply for a job in the graphic design industry, and got an interview, I would need to show my designs to the interviewer. I figure it would be helpful to point out to interviewer that I make an effort to use my own images and use less stock images.
So this photograph was taken as part of a graphic design project I was doing, for a CD album art cover, by using my own images.
About the subject of the photograph.
This is a view of Shrub Hill Road, part of the B4205, in the city of Worcester.
The photograph is viewed just close to the corner of Shrub Hill Road and Tollandine Road, looking uphill, in the general direction of approximately north-east. The clock tower on top of the building on the corner, would be above my head.
The buildings on both side of the street, are part of Shrub Hill Industrial Estate.
In the past, the buildings on the left side of the photo, were built in 1864 by the Scottish architect named Thomas Dickson, for the Worcester Engine Works Company. The buildings were used for the construction of railway engines and carriages for some years until the railway boom slowed down.
In around 1871, the Great Western Railway company that acquired the works, did the manufacture and repairs of railway vehicles in Swindon, so they closed down the operations in Worcester.
In 1882, the building was chosen as a venue for the Worcester Exhibition, a showcase of cultural artefacts and local industrial productions.
Between 1903 to 1984, the building was owned by an offshoot of an engineering company called Heenan & Froude, which was based in Manchester, and was the company that built the Blackpool Tower.
Today, the building is part of the Shrub Hill Industrial Estate, and divided into various smaller units for many different companies. Examples, few offices for taxi companies, a nursing agency, car washing service, and even including an indoor rock climbing company.
In 1980, the building was listed as Grade II, but does show signs of neglect over the whole of its façade.
The Comment Box is NOT an advertising space or billboard for any of the groups. Canned Comments and award comments will be deleted. You are welcome to comment about my photo, the subject in the photo, or your similar experience. If you want to promote the groups you are member of, do it in YOUR own photos or Photostream.
In designing the pattern on the sides of this box I was thinking of Shinto shrine gates. A mix of clear, aqua, and blue trans rounds results in a shimmery glass effect. Leaving the corners without posts I think makes the box look more transparent.
More views of this box.
Part of an ongoing series on Boxes ... making useful or decorative containers out of LEGO. I'm posting one a day for a few days, about three more boxes to go ...
The Colosseum was the first place my mind went upon accepting this commission. I am always hesitant to replicate any landmark that has been modeled in LEGO countless times before. Therefore, I decided early on to eliminate the idea of using arch bricks altogether as their bulky dimensions would not nearly do justice at this scale. That’s when I had the idea of using 1x1 rounded plates w/ handle for the lower three arcades. Each of these stacked arcades are topped between alternating 1x1 printed plates and old 1x1 windows (an element that has not been in a LEGO set since 1979). These two motifs express the Corinthian pilasters and are topped by brown minifigure wands which make up the timber structure of the velarium.
Here's a fun little build that I whipped together (might be an understatement) using the same frame as my Lazengann and Gurren Lagann figures. SSSS.Gridman was one of my favorite shows to air last year and was criminally underrated. Do yourself a favor and check it out if you want some robot(?) v. kaiju action with some cool twists throughout!
The two most challenging parts of this build were effectively using my limited collection of light blue bricks and designing the head. The head in particular is the weakest part of the model (IMO) but it's way better than some of its earlier iterations. I may go back sometime in the future and redesign it again. I do quite like how some other parts turned out however, especially the chest, shoulders, and back vents.
Also I decided to throw in Calibur as well just to add some pizzazz to the whole thing. I experimented with building Max so I could have Max Gridman but it proved to be a little bit too ambitious. Maybe I'll do some of the support vehicles in the future, but don't count on it.
Sinéad Burke, Founder, Sinéad Burke, Ireland; Cultural Leader.Caroline Baumann, Director, Cooper Hewitt, Smithsonian Design Museum, USA; Cultural Leader.Susannah Rodgers, Paralympian and Director, Spirit of 2012, United Kingdom; Young Global Leader, Cultural Leader,.speaking during the Session "Designing for Everyone" at the Annual Meeting 2019 of the World Economic Forum in Davos, January 22, 2019. Congress Centre - Betazone
Copyright by World Economic Forum / Mattias Nutt
Designing News
Changing the World of Editorial Design and Information Graphics
shop.gestalten.com/designing-news.html
In Designing News, award-winning editorial and infographics designer Francesco Franchi conveys his vision for the future of the news and media industries. He evaluates the fundamental changes that are taking place in our digital age in terms of consumer expectations and the way media is being used. The book then outlines the challenges that result and proposes strategies for traditional publishing houses, broadcasting companies, journalists, and designers to address them.
Designing News explores how today’s media outlets can become credible, cross-platform news brands. Franchi advocates redefining reporting as telling a continuous narrative across a broad range of traditional and digital media. To this end, he proposes a new, integrated role for editorial designers in advancing the evolution of media for the future.
Franchi’s findings in Designing News are based on his own work for Il Sole 24 ORE as well as case studies by top media insiders including Bloomberg Businessweek’s Richard Turley, Thomson Reuters’s Daniele Codega, the New York Times’s Steve Duenes, the Times’s Matt Curtis, and type designer Christian Schwartz.