DIGITAL ARTS Associate in Applied Science Degree | Career Program | Department of Art and Music
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Fractal 3D Magic Free
FREE FRACTAL 3D MAGIC PDF Clifford A. Pickover | 160 pages | 07 Sep 2014 | Sterling Publishing Co Inc | 9781454912637 | English | New York, United States Fractal 3D Magic | Banyen Books & Sound Option 1 Usually ships in business days. Option 2 - Most Popular! This groundbreaking 3D showcase offers a rare glimpse into the dazzling world of computer-generated fractal art. Prolific polymath Clifford Pickover introduces the collection, which provides background on everything from Fractal 3D Magic classic Mandelbrot set, to the infinitely porous Menger Sponge, to ethereal fractal flames. The following eye-popping gallery displays mathematical formulas transformed into stunning computer-generated 3D anaglyphs. More than intricate designs, visible in three dimensions thanks to Fractal 3D Magic enclosed 3D glasses, will engross math and optical illusions enthusiasts alike. If an item you have purchased from us is not working as expected, please visit one of our in-store Knowledge Experts for free help, where they can solve your problem or even exchange the item for a product that better suits your needs. If you need to return an item, simply bring it back to any Micro Center store for Fractal 3D Magic full refund or exchange. All other products may be returned within 30 days of purchase. Using the software may require the use of a computer or other device that must meet minimum system requirements. It is recommended that you familiarize Fractal 3D Magic with the system requirements before making your purchase. Software system requirements are typically found on the Product information specification page. Aerial Drones Micro Center is happy to honor its customary day return policy for Aerial Drone returns due to product defect or customer dissatisfaction. -
Graphic Designer P3
Job Template: Graphic Designer Occupational Group Communication and Marketing Job Family Communication and Marketing Job Path Graphic Design Job Title Graphic Designer Job Category: P Job Level: 3 FLSA Status: E Job Code: C01000 P3: Level Standards GENERAL ROLE This level is accountable for directly providing service to any assigned work unit at the University. The service can focus on a single or a variety of job functions with varying degrees of independence. Positions at this level may supervise student or support employees. Incumbents: • Put into effect what is required by defined job duties and responsibilities following professional norms or established procedures and protocols for guidance. • Alter the order in which work or a procedure is performed to improve efficiency and effectiveness. • Recommend or implement modifications to practices and procedures to improve efficiency and quality, directly affecting the specific office operation or departmental procedure or practice. INDEPENDENCE AND DECISION-MAKING Supervision Received • Works under limited supervision. Context of Decisions • Utilizes general departmental guidelines to develop resolutions outside the standard practice. Job Controls • Possesses considerable freedom from technical and administrative oversight while the work is in progress. • Defines standard work tasks within departmental policies, practices, and procedures to achieve outcomes. • Serves as the advanced resource to whom more junior employees go to for technical guidance. 1 Job Template: Graphic Designer Occupational Group Communication and Marketing Job Family Communication and Marketing Job Path Graphic Design Job Title Graphic Designer Job Category: P Job Level: 3 FLSA Status: E Job Code: C01000 COMPLEXITY AND PROBLEM SOLVING Range of issues • Handles a variety of work situations that are cyclical in character, with occasionally complex situations. -
Transformations in Sirigu Wall Painting and Fractal Art
TRANSFORMATIONS IN SIRIGU WALL PAINTING AND FRACTAL ART SIMULATIONS By Michael Nyarkoh, BFA, MFA (Painting) A Thesis Submitted to the School of Graduate Studies, Kwame Nkrumah University of Science and Technology in partial fulfilment of the requirements for the degree of DOCTOR OF PHILOSOPHY Faculty of Fine Art, College of Art and Social Sciences © September 2009, Department of Painting and Sculpture DECLARATION I hereby declare that this submission is my own work towards the PhD and that, to the best of my knowledge, it contains no material previously published by another person nor material which has been accepted for the award of any other degree of the University, except where due acknowledgement has been made in the text. Michael Nyarkoh (PG9130006) .................................... .......................... (Student’s Name and ID Number) Signature Date Certified by: Dr. Prof. Richmond Teye Ackam ................................. .......................... (Supervisor’s Name) Signature Date Certified by: K. B. Kissiedu .............................. ........................ (Head of Department) Signature Date CHAPTER ONE INTRODUCTION Background to the study Traditional wall painting is an old art practiced in many different parts of the world. This art form has existed since pre-historic times according to (Skira, 1950) and (Kissick, 1993). In Africa, cave paintings exist in many countries such as “Egypt, Algeria, Libya, Zimbabwe and South Africa”, (Wilcox, 1984). Traditional wall painting mostly by women can be found in many parts of Africa including Ghana, Southern Africa and Nigeria. These paintings are done mostly to enhance the appearance of the buildings and also serve other purposes as well. “Wall painting has been practiced in Northern Ghana for centuries after the collapse of the Songhai Empire,” (Ross and Cole, 1977). -
Guide to Digital Art Specifications
Guide to Digital Art Specifications Version 12.05.11 Image File Types Digital image formats for both Mac and PC platforms are accepted. Preferred file types: These file types work best and typically encounter few problems. tif (TIFF) jpg (JPEG) psd (Adobe Photoshop document) eps (Encapsulated PostScript) ai (Adobe Illustrator) pdf (Portable Document Format) Accepted file types: These file types are acceptable, although application versions and operating systems can introduce problems. A hardcopy, for cross-referencing, will ensure a more accurate outcome. doc, docx (Word) xls, xlsx (Excel) ppt, pptx (PowerPoint) fh (Freehand) cdr (Corel Draw) cvs (Canvas) Image sizing specifications should be discussed with the Editorial Office prior to digital file submission. Digital images should be submitted in the final size desired. White space around the image should be removed. Image Resolution The minimum acceptable resolution is 200 dpi at the desired final size in the paged article. To ensure the highest-quality published image, follow these optimum resolutions: • Line = 1200 dpi. Contains only black and white; no shades of gray. These images are typically ink drawings or charts. Other common terms used are monochrome or 1-bit. • Grayscale or Color = 300 dpi. Contains no text. A photograph or a painting is an example of this type of image. • Combination = 600 dpi. Grayscale or color image combined with a line image. An example is a photograph with letter labels, arrows, or text added outside the image area. Anytime a picture is combined with type outside the image area, the resolution must be high enough to maintain smooth, readable text. -
David Rosenberg's July 2013 / 2018 Interview with Miguel Chevalier
David Rosenberg’s July 2013 / 2018 Interview with Miguel Chevalier Flows and Networks David Rosenberg: Can you tell me what led you, starting in the early 1980s, to use computer applications as a means of artistic expression? Miguel Chevalier: I was very much interested in the video work of the South Korean artist Nam June Paik and in Man Ray’s rayographs. And the work of Yves Klein and Lucio Fontana constituted at that time for me two forms of pictorial absolutism, but I did not yet clearly see how one could go beyond all those avant-garde movements. In the early 1980s, at the Fine Arts School in Paris, several of us young students asked ourselves what was to do done after all these “deconstructions” and negations of the field of art and painting. This was, need it be recalled, a time when, for example, Daniel Buren said he represented the “degree zero” of painting. For my part, I felt far removed from Graffiti Art, from Free Figuration, from the German Neo-Expressionists, and from the Italian painters who had gathered around the art critic Achille Bonito Oliva. I wanted to explore still-virgin territories and create a new form of composition with the help of computer applications. D.R.: You took a special set of courses in this area? M.C.: No, not at all. I really approached computers and programming as an artist and an autodidact. During this period, there was no instruction in these areas in art schools in France. D.R.: And how were your research efforts perceived? M.C.: With a lot of scepticism. -
Voir Le Programme
BASILIQUE DE VALERE 51e SION - VALAIS INTERNATIONAL DE L' MUSIQUE ANCIENNE du 11 juillet au 22 août 2020 bienvenue 51 Bienne - BE Naters - VS Giswil - OW Lausanne - VD Chers amis de l’orgue, Après les festivités du 50e anniversaire, Un autre anniversaire (60 ans!) qui nous tient le festival repart de plus belle malgré spécialement à cœur est celui de la manufacture l’incertitude liée au Covid-19. d’orgues Füglister, installée à Grimisuat en Valais. A l’heure où j’écris ce billet, l’optimisme Fondée par Hans Füglister en 1960 et dirigée est de mise et nous espérons malgré tout actuellement par sa fille Annette, l’entreprise est Emmenbrücke - LU Simplon - VS Brig - VS Kagoshima - JP offrir à notre fidèle public sept concerts reconnue en Valais, en Suisse et ailleurs dans le de qualité. monde pour son remarquable travail. Chargée Découvrez dans notre programme les de la restauration de l’orgue de Valère en 2004 organistes invités à cette 51e édition! et de l’installation du tempérament mésotonique Tous se réjouissent de toucher ce prestigieux l’année passée, l’entreprise Füglister continue instrument vieux de 600 ans qu’est l’orgue de nous soutenir et de «bichonner» l’orgue de de Valère. Découvrez aussi les instrumen- la basilique pour notre plus grand bonheur. tistes qui se mêleront à l’orgue: cornettiste, En effet, c’est en grande partie grâce à leurs violonistes, mezzo-soprano, contre-ténor. compétences que l’orgue peut résonner de façon Retrouvez l’ensemble Capella de la Torre, aussi incroyable à Valère. de Lübeck, qui nous avait enthousiasmés et Chers auditeurs, fidèles et nouveaux, que nous nous faisons une joie d’inviter à gravissez la colline, profitez de la fraîcheur nouveau et enfin, cerise sur le gâteau, venez de la basilique et emplissez vos oreilles Valère - VS Reckingen - VS Gossau - SG Ausserberg - VS apprécier le très connu chœur Novantiqua de sonorités intemporelles! qui fête cette année son 40e anniversaire et qui clôturera ce festival en beauté. -
Computer Based Art 2 Computer Based Art 3
1 Computer based art 2 Computer based art 3 Computer based art 4 Computer based art ??5 Buzzanca vs Buzzanca6 7 9 L’arte contemporanea (quale sia la data d’inizio che le volessimo attribuire) è stata caratterizzata, lo si è già accennato, dalla adozione di materiali di espressione artistica i più disparati possibili. La scelta di utilizzare il computer per esprimere il fare artistico, per sviluppare un linguaggio della manifestazione artistica diviene strettamente connesso • al sistema operativo, • all’applicazione, • alla pagina definita dal codice ed • alle teorie che del computer prendono in considerazione gli aspetti logici, simbolici; E’ possibile attivare sul computer, in maniera chiara e fortemente innovativa, una rappresentazione del proprio agire artistico. La vera innovazione, sappiamo bene, non consiste certo nella tastiera più o meno user friendly ma nella capacità di usare il mezzo informatico alla stessa stregua dei più disparati materiali presi a base nelle rappresentazioni dell’arte contemporanea. 13 14 15 16 17 Quali possono essere, allora, le strategie per l'archiviazione e, principalmente, per la conservazione delle arti digitali e di altre pratiche artistiche contemporanee di natura effimera o variabile e comunque strettamente dipendente da un medium la cui sopravvivenza è abbondantemente messa in crisi dagli stessi assunti metodologici della tecnologia adottata? Trovo in questo senso diagrammatica, esulando solo per un attimo dalle arti figurative (che includono figurazione e rappresentazione comunque iconica) la composizione musicale Helicopter String Quartet di Karlheinz Stockhausen che prevede che i quattro esecutori siano ciascuno su un differente elicottero ed eseguano sincronicamente l’esecuzione essendo tra loro collegati mediante apparecchi di registrazione e trasmissione coordinati da terra dal regista o meglio ancora dal direttore tecnologico dell’orchestra. -
NANCE PATERNOSTER Digital Artist - Compositor - Instructor 503 • 621 • 1073
NANCE PATERNOSTER Digital Artist - Compositor - Instructor 503 • 621 • 1073 OBJECTIVE: Working in a Creative Capacity for Apple Computer or Adobe Products Digital Compositing, Motion Graphics & Special Effects Animation Creating Digital Art & Animated Sequences Teaching in an Animation Department at an Art School EDUCATION: MA 1993 – San Francisco State University Masters in Computer & Film Animation/Video Disk Technology BFA 1984 - Syracuse University: Syracuse, New York Art Media Program: Computer Graphics Major/College of Visual & Performing Arts (Film, Video, Photo. & Computer Graphics/Programming - Fine Art Emphasis) Additional Computer Graphics Training: Art Institute of Portland - Maya Courses Academy of Art College 1994; Pratt Institute, N.Y., NY 1985; The School of Visual Art, NY 1984 N.Y. Institute of Technology 1984-1985; Pratt Brooklyn, 1985 Center for Electronics Arts, S.F., CA 1988-1989 COMPUTER GRAPHIC EQUIPMENT Platforms - Mac/SGI/PC Software - Flame, After Effects Photoshop, Illustrator, Painter, Quark Some - Maya, Max, Lightwave, Soft Image Xaos Tools - Pandemonium, NTITLE Some - Avid, Final Cut, Premiere Amazon Paint 2D/3D, PIRANHA Unix, Dos, + Some C++, Pascal, Fortran, Javascript , HTML Additional Photography, Stereo Photography. Analog and Digital Video editing, Film editing. RELATED WORK: Art Institute of Portland - Adjunct Faculty VEMG/DFV Depts. - Present Pacific Northwest College of Art - Adjunct Faculty - Present Art Institutes Online - Adjunct Faculty - Present Art Institutes Online- Full Time Faculty - Animation Department - 2006-2007 Art Institute of Portland - Full Time Faculty - Animation Department Teaching Compositing, Motion Graphics, Special FX Animation, Advanced Image Manipulation, Digital Paint, Independent Study for Senior Animation Students, & Digital Portfolio. 2000 - 2005 Art Institutes Online - Adjunct Faculty - Game Art & Design Department Teaching Digital Ink & Paint Online, 2D Animation, Image Manipulation. -
PRESS KIT Typecon2019: Nice MINNEAPOLIS, MN August 28–September 1, 2019 Typecon2019 MINNEAPOLIS, MN the CONFERENCE August 28–Sept 1
PRESS KIT TypeCon2019: Nice MINNEAPOLIS, MN August 28–September 1, 2019 TypeCon2019 MINNEAPOLIS, MN THE CONFERENCE August 28–Sept 1 50 WORDS Founded 21 years ago, TypeCon is the nation’s premier typography and lettering arts conference. Hundreds of attendees convene each year for an immersive five day program of inspiring presentations, workshops, and events. At TypeCon, both professionals and educators can learn, grow, and network in the company of like-minded enthusiasts. 120 WORDS Founded 21 years ago, TypeCon is the nation’s premier typography and lettering arts conference. Hundreds of attendees from around the world convene each year for an immersive five day program centered around typography, lettering, and design. TypeCon is best-known for its educational presentations, all of which are submitted via open-call, “by the community, for the community.” Recent speakers and workshop leaders have included Tobias Frere-Jones, Lance Wyman, Gemma O’Brien, Underware, Jessica Hische, Matthew Carter, and Louise Fili. TypeCon oers a unique opportunity for both professionals and educators to learn, study, network, and further their knowledge in the company of like-minded enthusiasts. TypeCon2019: “Nice” will take place August 28th–September 1st, at the Hilton Minneapolis in downtown Minneapolis, Minnesota. FULL Founded 21 years ago by The Society of Typographic Aficionados (SOTA), TypeCon is the nation’s premier typographic and lettering arts conference. Hundreds of attendees from around the world convene each year for an immersive five day program centered around typography, lettering, and design. The conference takes place in a dierent city each year and is dedicated to promoting and disseminating knowledge of both historical and contemporary typography. -
Graphic Designer
Graphic Designer MHTN Architects, a nationally recognized and award-winning Salt Lake City architectural and design firm, is seeking a talented Graphic Designer with a minimum of 3 years experience to join our marketing team. Working closely with the Marketing Manager & Team, and Design Teams the ideal candidate will: ▪ Have strong knowledge and experience in graphic design and illustration, including the ability to design, layout, and prepare finished artwork for implementation in print, digital, social media, and other communication channels. ▪ Thrive in a highly collaborative work environment. ▪ Have experience in fast paced environments meeting tight schedules under pressure. ▪ Proven ability to translate communication needs into effective graphic and artistic designs. ▪ Possess excellent communication and time management skills. ▪ Be highly organized, creative, and have a responsive and positive attitude. ▪ Have an eye for design details, such as typography, alignment, hierarchy, etc. ▪ Be a proactive self-starter. The role demands a dynamic, flexible multi-tasker with enthusiastic problem-solving skills, and the ability to prioritize in a fast-paced environment. Responsibilities ▪ Creation and coordination of print and digital proposals. ▪ Coordination of proposal content from outside consultants and design teams. ▪ Development of new design concepts, graphics and layouts for marketing assets, company presentations, trade booths, social media, website, and internal collateral. ▪ Proofing text content. ▪ Development of printed material for local magazine articles, advertisements, and awards. Education & Experience Required The ideal candidate will: ▪ Hold a Bachelor’s degree in graphic design or equivalent. ▪ Possess 3 - 5 years of experience creating concept and production work with a commercial portfolio demonstrating consistency in vision and ability to uphold a brand’s visual identity. -
For Graphic and UI/UX Designers Who Are These For? What Professions Are the Students Preparing For? 3 AREAS of EMPHASIS for DESIGNERS
Résumés For Graphic and UI/UX Designers Who are these for? What professions are the students preparing for? 3 AREAS OF EMPHASIS FOR DESIGNERS UI/UX Design (screen-based, interactive, user focused) Branding/Graphic Design (Traditional visual communication career) Surface Design (Patterns, licensing, aesthetic focus) UI/UX DESIGN UI/UX DESIGN UI/UX DESIGN vs. It’s not all about looks* *It’s about how it works and what it says… and how it looks. It’s all about the Portfolio Everything points to their work! Résumés Yes we should recommend they place the accent mark over the “é” vs. Use A Grid Use A Grid Multiple Columns with variable widths use space more efciently and allow for more negative space. Use Clear Hierarchy & Divisions of Space Clearly labeled experiences Name and show location, relevant contact. duration, and Custom URL describe duties. email w/name Would be easier to read with bullets not paragraphs. Conspicuously missing an objective or bio. These are not necessary. Including references is not necessary but isn’t a faux pas Content Recommendations Students should keep resume to a single page. Lead with design experiences over others. Better to state: “Adobe Creative Suite CC” rather Don’t list more than than list all apps. 3 non-design or You may list related positions. specialty apps like Invision, Sketch, Maya etc. Don’t include more than 3 internships List degree and all institutions attended during its pursuit. (transfer students can list multiple institutions). GOOD/BAD REVIEW (of a template) Good: Good: Name is clear Contact info is and set apart easy to find Bad: Bio not necessary. -
Digital Art & Design (DART)
Digital Art & Design (DART) 1 DART-170 Digital Video Editing 3 Units DIGITAL ART & DESIGN (DART) 108 hours activity; 108 hours total Introduction to non-linear editing on the computer. Includes historical DART-101 Graphic Design Foundations 3 Units development, digital video and audio formats, techniques and theory 108 hours activity; 108 hours total of editing, aspect ratios, organization of the edit, desktop environment, Graphic Design Foundations is an introductory course with emphasis on importing digital elements, project organization, video and audio files, the foundations of the Graphic Arts. Course content includes concept non-linear editing skills, applying transitions, designing titles, applying development, design processes, production, presentation, technical skills filters, digital and time line effects, importing graphics, mixing audio and in both traditional and digital media, and solving visual communication video elements, synchronize sound with video, and exporting digital video problems. Projects include lettering/typography and layout/composition. projects. Transfers to both UC/CSU Transfers to both UC/CSU DART-120 Intro to Digital Art & Graphic Design 3 Units 36 hours lecture; 54 hours lab; 90 hours total Recommended Preparation: Completion of ARTS-101 with a minimum grade of C. This course provides an introduction to visual design concepts and contemporary professional practices in graphic art using industry- standard software including Adobe Photoshop, Illustrator and InDesign. Transfers to both UC/CSU DART-125 Animation 3 Units 36 hours lecture; 54 hours lab; 90 hours total An introductory course in the basic principles and technology of animation. Both traditional and alternative animation styles will be covered with an emphasis on creating effective sequences appropriate for the subject or narrative.