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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.
Image from 'Manual of Geology: treating of the principles of the science with special reference to American geological history ... Revised edition', 000858020
Author: DANA, James Dwight.
Page: 47
Year: 1864
Place: Philadelphia
Publisher: Theodore Bliss & Co.
Following the link above will take you to the British Library's integrated catalogue. You will be able to download a PDF of the book this image is taken from, as well as view the pages up close with the 'itemViewer'. Click on the 'related items' to search for the electronic version of this work.
Open the page in the British Library's itemViewer (page: 000047)
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
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.
Taoiseach Enda Kenny, Tánaiste Joan Burton and Minister for Social & Primary Care Kathleen Lynch today launched the Irish National Dementia Strategy. This honours the commitment in the Programme for Government to develop a national Alzheimer’s and other dementias strategy to increase awareness, ensure timely diagnosis and intervention, and develop enhanced community based services.
The Strategy sets out a number of principles to underpin the provision of care and supports for people with dementia including:
taking account of dementia in the development and implementation of existing and future health policies;
encouraging the participation of people with dementia in society and in their own communities as fully as possible for as long as possible;
the prioritisation of end-of-life care in an appropriate setting for those with dementia;
appropriate training and supervision for all those caring for or providing services to people with dementia;
directing resources to provide the best possible outcome for those with dementia, and for their families and carers.
Speaking at the launch of the Strategy, the said:
As Taoiseach, I am determined that dementia, or indeed old age, should not rob people of what is so valuable to them: their choice and their control over their lives, their privacy and their dignity. Central to the strategy is something that is characteristically taken away from people living with dementia and that is awareness. We want to increase awareness of dementia in the community so that we can act faster and smarter to ensure early diagnosis, treatment and that all-important support, particularly with community-based services.
The Tánaiste said,
Respect for the independence and dignity of the individual underpins this Strategy from the start. Many of the Actions are achievable without a large financial cost but yet they can, if we implement them effectively, make a real difference to the lives of those affected by dementia.
Minister Lynch said,
The very mention of dementia can cause fear and confusion for everyone with those affected not knowing where to turn. Those who come into contact with a person living with dementia are often similarly confused. Reducing this confusion, correcting misinformation and misunderstandings, and focusing on what is possible at every stage of the condition, instead of what is not, are all important parts of what this Strategy is about.
- See more at: merrionstreet.ie/en/News-Room/News/Government_launches_Ir...
Hacienda Guachipelin, Rincon de la Vieja, Guanacaste, Costa Rica.
Or otherwise known as Pink Trumpet Tree ...
From Wikipedia -
Tabebuia rosea is a neotropical tree that grows up to 30 m (100ft) and can reach a diameter at breast height of up to 100 cm (3 ft). The name Roble de Sabana is widely used in Costa Rica meaning "savannah oak" in Spanish, probably because it often remains in heavily deforested areas, where people prize its intense flowering periods and because of the resemblance of its wood with the oak wood. The name Maquilishuat is almost entirely used by the inhabitants of El Salvador to designate the Tabeuia rosea - it's also their national tree.
From Wikipedia -
Tabebuia is a neotropical genus of about 100 species in the tribe Tecomeae of the family Bignoniaceae. The species range from northern Mexico and southern Florida south to northern Argentina, including the Caribbean islands of Puerto Rico, Hispaniola (Dominican Republic, Haiti), Jamaica, Trinidad & Tobago and Cuba. The generic name is derived from words used for the trees by the indigenous peoples of Brazil.
Well-known common names include Trumpet Tree, Ipê (commonly misspelled "epay"), Poui and Pau d'arco.
Species in this genus are important as timber trees. The wood is used for furniture, decking, and other outdoor uses. It is increasingly popular as a decking material due to its insect resistance and durability. By 2007, FSC-certified ipê wood had become readily available on the market, although certificates are occasionally forged.
Indigenous peoples of the Amazon made hunting bows from the wood, which is the source of the common name pau d'arco, "bow stick".
Tabebuia is widely used as ornamental tree in the tropics in landscaping gardens, public squares, and boulevards due to its impressive and colorful flowering. Many flowers appear on still leafless stems at the end of the dry season, making the floral display more conspicuous. They are useful as honey plants for bees, and are popular with certain hummingbirds.
Naturalist Madhaviah Krishnan on the other hand once famously took offense at ipé grown in India, where it is not native.
The bark is dried, shredded, and then boiled making a bitter or sour-tasting brownish-colored tea. Tea from the inner bark of Pink Ipê (T. impetiginosa) is known as pau d'arco, Lapacho, or Taheebo. Its main chemical principles are lapachol, quercetin, and other flavonoids. It is also available in pill form. Taheebo has been used for years in Central America and South America to treat a number of diseases including Eczema, Candidiasis, Fungal infections and even cancer.
The worth and use of Taheebo extract has been related to the importance of quinine, which is taken from the bark of the South American Cinchona tree and is a medicinally accepted treatment for malaria. The herbal remedy is typically used during flu and cold season and for easing smoker's cough. It apparently works as an expectorant, by promoting the lungs to cough up and free deeply embedded mucus and contaminants. However, lapachol is rather toxic and therefore a more topical use e.g. as antibiotic or pesticide may be advisable. Other species with significant folk medical use are T. alba and Yellow Lapacho (T. serratifolia).
Tabebuia heteropoda, T. incana, and other species are occasionally used as an additive to the entheogenic drink Ayahuasca.
Mycosphaerella tabebuiae, a plant pathogenic sac fungus, was first discovered on an ipê tree.
Much of the ipê imported into the United States is used for decking. Starting in the late 1960s, importing companies targeted large boardwalk projects to sell ipê, beginning with New York City Department of Parks and Recreation ("Parks") which maintains the city's boardwalks, including along the beach of Coney Island. The city began using ipê around that time and has since converted the entire boardwalk—over 10 miles (16 km) long—to ipê. The ipê lasted about 25 years, at which time (1994) Parks has been replacing it with new ipê. Given that ipê trees typically grow in densities of only one or two trees per acre, large areas of forest must be searched and cut down to create paths to harvest and fill orders for boardwalks and, to a lesser extent, homeowner decks.
In 2008-2009 Wildwood, New Jersey rebuilt a section of their boardwalk using ipê, the town had pledged to use domestic black locust, but it was not available in time.
Nowadays, ipé wood from cultivated trees supersedes timber extracted from the wild. As noted above, customers should check for legitimacy of certificates.
Tabebuia chrysotricha is the national flower of Brazil. Tabebuia rosea is the national tree of El Salvador and the state tree of Cojedes, Venezuela. Tabebuia chrysantha is the national tree of Venezuela.
Text reads:
GUIDING PRINCIPLES
Foster Leaders of Culture in the Community.
Foster Leaders of Humanism in Society
Foster Leaders of Pacifism in the World
Foster Leaders for the Creative Coexistence of Nature and Humanity
SOKA UNIVERSITY OF AMERICA
FOUNDER DAISAKU IKEDA
When the Knights of Columbus were formed in March of 1882, the guiding principles that have sustained our Order have been Charity, Unity, Fraternity and Patriotism. Knights have united in these principles to support the Church, support programs of evangelization, Catholic education, civic involvement and to aid those in need.
Catholic men have volunteered their time and their energy to make these words a reality.
When the San Patricio County Knights of Columbus Council #6413 was formed in February of 1973, Men, your family, your neighbors, your friends committed their efforts to bring the principles of the Knights of Columbus to our parish and our community.
Today we are here to remember and honor those brother Knights that have served our church and community but are no longer with us. By remembering their deeds and their dedication, we can continue their work. From their place in eternity may they see that what they started continues to provide their families, their church and their community the love and support they began:
Rev. Herald Palmer
Rev. Joseph Berger
Rev. Vincent Patrizi
Rev. B.J. Aubertine
Rev .C.J. Aubry
Rev. F. Croatto
Sir Knight Deacon John Sutherland
Sir Knight Percy Armentor
Sir Knight Brian Cassarly
Sir Knight David Cassarly
Sir Knight A.J. Cessac
Sir Knight Gerald Gansle
Sir Knight Pete Hermann
Sir Knight Joe Horn
Sir Knight Alton Jones
Sir Knight Al Kollaja
Sir Knight Victor Lara Jr.
Sir Knight Alfred Matocha
Sir Knight Gene E. Matocha
Sir Knight Edwin Poling
Sir Knight Jose Posas
Sir Knight Duane Reed
Sir Knight Percy Sabedra
Sir Knight Arturo Vasquez
Sir Knight Kenneth Voges
Brother Knight Victor Arrisola
Brother Knight William Cochran
Brother Knight Carlos Gonzales
Brother Knight Earl Hiller
Brother Knight John Lucy
Brother Knight William Matocha
Brother Knight Zeph Pease
Brother Knight Richard Phillipson
Brother Knight Cyril Piazzaa
Brother Knight Santiago Rodriquez
Brother Knight Joe Roland
Brother Knight Daniel Saathoff
Brother Knight Michael Sherlock
Brother Knight Richard Shults
Brother Knight Mario Solis
Brother Knight Joseph Strain
Brother Knight Robert Sutherland
Brother Knight Frank Vanecek
Brother Knight David Wendland Jr.
Let us Pray:
ETERNAL REST GRANT UNTO THEM LORD
MAY THEIR SOULS AND THE SOULS OF THE FAITHFUL DEPARTED
THROUGH THE MERCY OF GOD, REST IN PEACE. AMEN.
Apex Predator Gray Wolves Wolfpack Winter Snow Sony A1 ILCE-1 Montana Grey Wolf Fine Art Wildlife Photography! Sony Alpha 1 West Yellowstone Elliot McGucken Wildlife Photography Sony Alpha1 !
All my photography celebrates the physics of light! The McGucken Principle of the fourth expanding dimension: The fourth dimension is expanding at the rate of c relative to the three spatial dimensions: dx4/dt=ic .
Lao Tzu--The Tao: Nature does not hurry, yet everything is accomplished.
Light Time Dimension Theory: The Foundational Physics Unifying Einstein's Relativity and Quantum Mechanics: A Simple, Illustrated Introduction to the Unifying Physical Reality of the Fourth Expanding Dimensionsion dx4/dt=ic !: geni.us/Fa1Q
"Between every two pine trees there is a door leading to a new way of life." --John Muir
Epic Stoicism guides my fine art odyssey and photography: geni.us/epicstoicism
“The clearest way into the Universe is through a forest wilderness.” --John Muir
Epic Poetry inspires all my photography: geni.us/9K0Ki Epic Poetry for Epic Landscape Photography: Exalt Fine Art Nature Photography with the Poetic Wisdom of John Muir, Emerson, Thoreau, Homer's Iliad, Milton's Paradise Lost & Dante's Inferno Odyssey
“The mountains are calling and I must go.” --John Muir
Epic Art & 45EPIC Gear exalting golden ratio designs for your Hero's Odyssey:
Support epic fine art! 45surf ! Bitcoin: 1FMBZJeeHVMu35uegrYUfEkHfPj5pe9WNz
Some of my epic books, prints, & more!
Exalt your photography with Golden Ratio Compositions!
Golden Ratio Compositions & Secret Sacred Geometry for Photography, Fine Art, & Landscape Photographers: How to Exalt Art with Leonardo da Vinci's, Michelangelo's!
Epic Landscape Photography:
A Simple Guide to the Principles of Fine Art Nature Photography: Master Composition, Lenses, Camera Settings, Aperture, ISO, ... Hero's Odyssey Mythology Photography)
All art is but imitation of nature.-- Seneca (Letters from a Stoic - Letter LXV: On the First Cause)
The universe itself is God and the universal outpouring of its soul. --Chrysippus (Quoted by Cicero in De Natura Deorum)
Photographs available as epic fine art luxury prints. For prints and licensing information, please send me a flickr mail or contact drelliot@gmail.com with your queries! All the best on your Epic Hero's Odyssey!
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.
SOOC
John O'Callaghan and Garret Nickelson of The Maine.
October 19th, 2008.
The Compromising of Integrity, Morality, and Principles In Exchange For Money Tour.
Jannus Landing.
St. Petersburg, Florida.
In each block I have tryed my hand at conveying each principle of design.
Check out my blog for a poem I wrote to also go with this month's theme: www.artistholiday.blogspot.com
Materials used: Canson 11x14 Mixed Media Sketchbook , pencils, pens and acrylic paints.
Competency I
Use service concepts, principles, and techniques that facilitate information access, relevance and accuracy for individual or groups of users.
My work in creating the Info Kiosk for asynchronous reference service best demonstrated the principles behind Competency I. My goal for the Textures Info Kiosk was to provide texturing resources to assist in the creation of 3D virtual projects by fellow classmates and all users of SL. My prior experience with the learning service project made me realize how difficult finding suitable textures for projects can be. I sought to help others by creating a kiosk that organized my findings.
I implemented the same service concepts and principles used to create a library pathfinder to build the Textures Info Kiosk. First, I identified the user need for easily-assessable quality 3D building tools. Navigating Second Life can be daunting and time-consuming for the newcomer. I hoped to gather the best texture resources freely available to the SL user in one location, which may be accessed at user's convenience.
I also identified:
A. The three libraries of free textures: (a) the library of textures found within the SL resident's inventory, (b) two regions dedicated to providing free textures as well as other building tools.
B. Search terms that can be used in the Second Life search function to find additional free textures.
C. Two forms of multimedia, online video tutorials and inworld displays, offering texturing tutorials.
D. Open source free software that can be used to create and modify one's own textures.
Creating the kiosk provided valuable design experience as well. In a virtual world, careful consideration to the visual impact of displays is an important factor as text is difficult to read and is non-distinct from its surrounding objects. I designed the kiosk based on the metaphor of a customer shopping for fabric. Many of textures in real life come in rolls or bolts; vinyl floorings, carpets, paper, fabric, wall paper and sod. I thought this concept would transfer well in a virtual environment. The final product consisted of a large simple woven basket filled with five bolts of textures. Upon touching each bolt, the user receives a folder filled with the category of textures specified on the corresponding bolt. When the user touches the basket, the user receives the pathfinder in the form of a notecard, listing the above research information and a landmark to Harbinger's Haven.
I gained design experience that will be helpful in creating future informational kiosks, real or virtual world. I learned that the items built in Second Life can be duplicated in real world, as measurements of virtual objects are given in meters. The ability to cycle quickly through design iterations and to present 3D project models for viewing by others is a major benefit of Second Life. I now have the knowledge of a valuable cutting-edge educational tool that will assist me in my career as a librarian.
The principles of design I used we're emphasis because of the clear focal point and the contrast of complementary colors. I took this photo of a bulldozer by using the manual focus to make the background very dark and getting the blue and orange to be the main focus. I think I did well on the overall quality and capturing a more unique picture.
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.
Michael Nolan rides Baizically to second place in the Champagne Louis Roederer Handicap Chase at Cartmel.