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Using Experience Design to Drive Institutional Change, by Matt Glendinning
The Monthly Recharge - November 2014, Experience Design Designing Learning for School Leaders, by Carla Silver Using Experience Design to Drive Institutional Change, by Matt Glendinning Designing the Future, by Brett Jacobsen About L+D Designing Learning for School Leadership+Design is a nonprofit Leaders organization and educational Carla Robbins Silver, Executive Director collaborative dedicated to creating a new culture of school leaders - empathetic, creative, collaborative Dear Friends AND Designers: and adaptable solution-makers who can make a positive difference in a The design industry is vast and wonderful. In his book, Design: rapidly changing world. Creation of Artifacts in Society, Karl Ulrich, professor at Wharton School of Business at the University of Pennsylvania, includes an We support creative and ever-growing list of careers and opportunities in design. They innovative school leadership at range form the more traditional and known careers - architecture the individual and design, product design, fashion design, interior design - to organizational level. possibilities that might surprise you - game design, food design, We serve school leaders at all news design, lighting and sound design, information design and points in their careers - from experience design. Whenever I read this list, I get excited - like teacher leaders to heads of jump-out-of-my-seat excited. I think about the children in all of our school as well as student schools solving complex problems, and I think about my own leaders. children, and imagine them pursuing these careers as designers. We help schools design strategies for change, growth, Design is, according to Ulrich, "conceiving and giving form to and innovation. -
Venues at the Mak
THE MAK EXCLUSIVE The MAK – Austrian Museum of Applied Arts / GUIDED TOURS Contemporary Art was the first museum to be built on the Vienna Ringstraße and is one of the For the guests attending your events, we are most outstanding museums of its kind in the pleased to offer exclusive guided tours through the world. Founded in 1863 as the Imperial Royal unique MAK Permanent Collection, the MAK DESIGN Austrian Museum of Art and Industry, the MAK LAB, and the temporary exhibitions, all of which is now a museum and laboratory for the applied have established the Museum’s reputation as an arts, situated on the interface between design, innovative cultural institution. architecture, and contemporary art. In exhibition rooms designed by renowned contemporary artists, outstanding exhibits from the MAK’s extensive collection are on display. The EVENTS Permanent Collection Vienna 1900 includes Gustav Klimt’s work drawings for the mosaic frieze in the AT THE MAK Stoclet House in Brussels as well as many other outstanding Art Nouveau and Wiener Werkstätte The MAK offers much more than a magnificent creations. The MAK is also the place to admire rare museum as a backdrop for your events; the oriental carpets, discover sumptuous artifacts from setting it provides is outstanding in many other Asia, or experience the Thonet Brothers’ chairs respects, featuring spatial and technical facilities from a new perspective. for almost every occasion. Celebrate in the traditional classical ambience of one of the Vienna The exhibitions in the MAK present various artistic Ringstraße’s most renowned stately buildings. stances from the fields of applied art, design, Take advantage of the unique atmosphere of the architecture, and contemporary art, with an eye to great exhibition halls with their restrained, elegant elucidating the relationships between these fields. -
Oral History Interview with Massimo Vignelli, 2011 June 6-7
Oral history interview with Massimo Vignelli, 2011 June 6-7 Funding for this interview was provided by the Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America. Contact Information Reference Department Archives of American Art Smithsonian Institution Washington. D.C. 20560 www.aaa.si.edu/askus Transcript Preface The following oral history transcript is the result of a tape-recorded interview with Massimo Vignelli on 2011 June 6-7. The interview took place at Vignelli's home and office in New York, NY, and was conducted by Mija Riedel for the Archives of American Art, Smithsonian Institution. This interview is part of the Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America. Mija Riedel has reviewed the transcript and have made corrections and emendations. This transcript has been lightly edited for readability by the Archives of American Art. The reader should bear in mind that they are reading a transcript of spoken, rather than written, prose. Interview MIJA RIEDEL: This is Mija Riedel with Massimo Vignelli in his New York City office on June 6, 2011, for the Smithsonian Archives of American Art. This is card number one. Good morning. Let's start with some of the early biographical information. We'll take care of that and move along. MASSIMO VIGNELLI: Okay. MIJA RIEDEL: You were born in Milan, in Italy, in 1931? MASSIMO VIGNELLI: Nineteen thirty-one, a long time ago. MIJA RIEDEL: Okay. What was the date? MASSIMO VIGNELLI: Actually, 80 years ago, January 10th. I'm a Capricorn. MIJA RIEDEL: January 10th. -
Portfolio Applied Arts
Props Making • Fertility Idol Prop Set Design • Robin Hood Stage Design Product Design • Sufag • Fassbar • Bio Saft Product Design • Lamp Design Display Design • The Petchey Academy - • graphics appear on the Unforgotten TV Drama Reconstruction • Airplane restauration Hand Illustration • Voltus • Fog Portfolio • Worm Pedro Reis Applied Arts Props Making Fertility Idol Prop scenic painting, modelling, prop making and casting Prop design from the movie Raiders of the Lost Ark The Chachapoyan Fertility Idol is a solid gold statue that represents the goddess of fertility. And it appears right at the first scene of the movie. Happy to start my prop collection with this amazing Idol Remembrance day 2,000 hand made poppies by me and facilities team at The Petchey Academy. I also helped with many set design plays in the school and its Christmas and other events decoration like Halloween, Science week, easter Chinese New year, etc. Costume made for a teacher at the school I worked using office materials for Science Week (real light power by batteries) Iron Man Mark 1 right hand prop, made for a student as a prize. Set Design Robin Hood Stage Design scenic painting, carpenter and prop making ROBIN HOOD STAGE DESIGNS PUTNEY ARTS THEATRE Visual communication signs for students and guests the school had lots of parents that could not speak english so it icons helped them while walking around. Product Design Samson Industry form Germany prop making, 3D Printing Sufag This is a model I made for a presentation of our product design to the Sufag a Sweden artificial snow production company. -
Visual Research Universal Communication Communication of Selling the Narrow Column Square Span Text in Color Change of Impact New Slaves
VISUAL RESEARCH UNIVERSAL COMMUNICATION COMMUNICATION OF SELLING THE NARROW COLUMN SQUARE SPAN TEXT IN COLOR CHANGE OF IMPACT NEW SLAVES ON TYPOGRAPHY by Herbert Bayer Typography is a service art, not a fine art, however pure and elemental the discipline may be. The graphic designer today seems to feel that the typographic means at his disposal have been exhausted. Accelerated by the speed of our time, a wish for new excitement is in the air. “New styles” are hopefully expected to appear. Nothing is more constructive than to look the facts in the face. What are they? The fact that nothing new has developed in recent decades? The boredom of the dead end without signs for a renewal? Or is it the realization that a forced change in search of a “new style” can only bring superficial gain? It seems appropriate at this point to recall the essence of statements made by progressive typographers of the 1920s: Previously used largely as a medium for making language visible, typographic material was discovered to have distinctive optical properties of its own, pointing toward specifically typographic expression. Typographers envisioned possibilities of deeper visual experiences from a new exploitation of the typographic material itself. Typography was for the first time seen not as an isolated discipline and technique, but in context with the ever-widening visual experiences that the picture symbol, photo, film, and television brought. They called for clarity, conciseness, precision; for more articulation, contrast, tension in the color and black and white values of the typographic page. They recognized that in all human endeavors a technology had adjusted to man’s demands; while no marked change or improvement had taken place in man’s most profound invention, printing-writing, since Gutenberg. -
A Real Case Study in the Hospitality Industry
Preta - Design Sprint Methodology A real case study in the Hospitality Industry By Michelle Catta We are a Hospitality Education Network . We empower our students to develop their technical skills & theoretical knowledge through our renowned campuses across the world. We provide internationally recognized certifications for student accomplishments. What is a Design Sprint? AGENDA How does it work? Framework to support divergent and convergent thinking Set the Stage 6 Critical Roles for any Design Sprint Team Let's Go for it! Head of design (CDO) at Innex. Researcher of innovation and collective intelligence and guest professor in the master MBDesign at UPC School (Universitat Politècnica de Catalunya) What is a Design Sprint? A design sprint is a framework for answering critical business questions through design, prototyping, and testing ideas with users. A BRIEF HISTORY OF THE DESIGN SPRINT How does it work? FRAMEWORK TO SUPPORT DIVERGENT AND CONVERGENT THINKING 1 2 3 4 5 UNDERSTAND SKETCH DECIDE PROTOTYPE TEST WHO IS IT FOR? In short, Design Sprint process is for everyone, including those of you in the hospitality sector. It's a versatile tool that can be used in almost every industry. It is an excellent way to stop the old defaults and replace them with a smarter, more respectful, and more effective way of solving problems that brings out the best contributions of everyone on the team—including the decision-maker—and helps you spend your time on work that really matters. Set the Stage 1 2 3 4 5 Pick a Facilitator. They will Get a Decider (or two). -
Making User-Focused Prototype Using Design Sprint to Test, Design, And
Making User-focused Prototype Using Design Sprint to Test, Design, and Prototype Mobile App Rapidly Nian Hwei Wong Bachelor’s thesis October 2016 Degree Programme in Media 2 ABSTRACT Tampereen ammattikorkeakoulu Tampere University of Applied Sciences Degree Programme in Media WONG, NIAN HWEI: Making User-focused Prototype Using Design Sprint to Test, Design and Prototype Mobile App Rapidly Bachelor's thesis 45 pages, appendices 7 pages October 2016 The aim of this study was to examine Google Venture Design Sprint (sprint) as a rapid design process and how it had helped to kick-start a design project in order to test, design and prototype for a mobile app in a large organisation. Based on the study, the objective of the practical project was to improve Vattenfall My Pages mobile app prototype based on the user test conducted during the sprint. The sprint was conducted at Vattenfall Digital Channels to redesign My Pages mobile app. Observations were made during the sprint and analyses were recorded. Participants from the sprint were also interviewed. Apart from the sprint being experimented as a rapid design process, the rapid sketching and prototyping methods that are used during the sprint process were also studied. The theoretical section of the thesis examined the user experience design techniques used in the sprint. The practical part focused on the visual design improvements of a high-fidelity mobile app prototype based on the data collected from the sprint’s user test. Throughout the sprint, it was found that the techniques used in the sprint provided effec- tive and reliable ways to help design team to work on the mobile app design project that involved a large number of stakeholders. -
Interior Design Director Location: Baltimore, MD
Interior Design Director Location: Baltimore, MD JOB DESCRIPTION The Verve Partnership seeks an enthusiastic & creative team player with excellent communication, organization and people skills. Reporting to the Managing Principal and Chief Growth Officer, this person will develop, implement, and manage the company's design strategy. Other responsibilities include bringing new approaches to design process and strategy, coaching and developing next- generation talent, and representing the firm in the larger design community. This is an ideal opportunity for a creative and motivated self-starter who welcomes the challenges and opportunities inherent in joining a firm experiencing tremendous growth. Our environment is collaborative, creative, progressive, demanding and fun and we’re seeking the best people and the right fit. SUMMARY The ideal candidate likes to play with others, shares their crayons and isn’t afraid to raise their hand, ask for help and draw outside the lines. We also prefer someone who is: Entrepreneurial: creative thinker, recognizes & seizes opportunities, strong sense of urgency, understands that the work never ends (work hard, play hard mentality) Leader: results-driven; thinks strategically, seeking out the information required to ensure decisions are made objectively, not subjectively or emotionally; takes financial ownership and requires minimal supervision/direction Project Owner: owns the process, not just the activity. Self-starter. Takes the initiative; attention to detail; follows thru while paying strict attention to details; proven ability to prioritize and successfully manage multiple projects/tasks with concurrent deadlines Multi-Tasker: outstanding project and time management skills; proven ability to manage multiple projects with concurrent deadlines High Energy: positive influence on others; enthusiastic, reliable, can-do attitude; recognizes that learning is a continual process; willingness to learn; enjoys life and smiles Team Player: committed to the organization/team vs. -
Smooth Writing with In-Line Formatting Louise S
NESUG 2007 Posters Smooth Writing with In-Line Formatting Louise S. Hadden, Abt Associates Inc., Cambridge, MA ABSTRACT PROC TEMPLATE and ODS provide SAS® programmers with the tools to create customized reports and tables that can be used multiple times, for multiple projects. For ad hoc reporting or the exploratory or design phase of creating custom reports and tables, SAS® provides us with an easy option: in-line formatting. There will be a greater range of in-line formatting available in SAS 9.2, but the technique is still useful today in SAS versions 8.2 and 9.1, in a variety of procedures and output destinations. Several examples of in-line formatting will be presented, including formatting titles, footnotes and specific cells, bolding specified lines, shading specified lines, and publishing with a custom font. INTRODUCTION In-line formatting within procedural output is generally limited to three procedures: PROC PRINT, PROC REPORT and PROC TABULATE. The exception to this rule is in-line formatting with the use of ODS ESCAPECHAR, which will be briefly discussed in this paper. Even without the use of ODSESCAPECHAR, the number of options with in- line formatting is still exciting and almost overwhelming. As I was preparing to write this paper, I found that I kept thinking of more ways to customize output than would be possible to explore at any given time. The scope of the paper therefore will be limited to a few examples outputting to two destination “families”, ODS PRINTER (RTF and PDF) and ODS HTML (HTML4). The examples presented are produced using SAS 9.1.3 (SP4) on a Microsoft XP operating system. -
Academic Worksheet 1St YEAR
1st Fall WU TRANSFER YEAR COMM 120 Public Speaking 3 2019-2020 FOUN 101 Beginning Drawing 3 GAME 101 Game Design Fundamentals 3 Academic Worksheet GAME 106 Game Code Fundamentals 3 GAME ART & DESIGN WRIT 111 Academic Writing 1 3 Design Emphasis ANIM 112 Portfolio Review Workshop 1 Spring GENERAL Core Competencies GDES 107 Digital Practice 3 EDUCATION GAME 105 3D Game Art Fundamentals 3 Breadth GAME 112 Game Design Documentation 3 Principles GAME 114 Introduction to Game Engines 3 LSCI 105 Information Theory and Practice 1 WRIT 112 Academic Writing 2 3 Name WU TRANSFER nd YEAR Fall ID# Matriculated 2 FOUN 102 Design and Composition 3 ____________________________________ GAME 211 Game Level Design 3 Minimum Unit Requirement 125 GAME 221 Game Prototyping 3 GAME 224 History of Games: 20th Century 3 Major 67 INDS 1____ Interdisciplinary Core Course 3 General Education 49 __________ Social Science Course 3 Unrestricted Electives 9 ____________________________________ Spring Preparatory Requirements __________ Ethics Course 3 WRIT 100 Bridge to Academic Writing 3 GAME 222 Game Player Analysis 3 MATH 100 Pre-Statistics 3 GAME 240 Networked Game Development 3 GAME 250 Portfolio Review 0 FILM 200 Screenwriting 3 __________ Art/Film/Design History Course 3 Fall WU TRANSFER 3rd YEAR FILM 140 Sound 3 GAME 321 User Interface Design 3 GAME 323 Story Development for Interactive 3 ENVT 220 Environmental Studies 3 MATH 2__ Mathematics Course 3 Spring __________ Natural Science Course w lab 3 GAME 304 Sound Synthesis and Design 3 GAME 332 Experimental Technology for Games 3 INDS 3___ Transdisciplinary Course 3 __________ Social Science Course 3 Work Experience 0 Fall WU TRANSFER 4th YEAR GAME 431 Degree Project R & D 3 __________ Art/Film/Design History 3 __________ Humanities Course 3 __________ Unrestricted Elective 3 __________ Unrestricted Elective 3 Spring GAME 432 Degree Project: Production 3 GAME 434 Professional Practices 3 ____3____ General Education Elective 3 __________ Art/Film/Design History 3 __________ Unrestricted Elective 3 . -
Ida Announces Winners of 12Th Annual Design Competition!
For Immediate Release Press Contact: Hannah Lillethun / [email protected] IDA ANNOUNCES WINNERS OF 12TH ANNUAL DESIGN COMPETITION! (Friday, March 1, 2019) The world-renowned International Design Awards has just announced the final winners in its 12th Annual contest, representing the most revolutionary designs in 5 major categories: Architecture, Interior Design, Graphic Design, Product Design, and Fashion Design. The International Design Awards (IDA) received thousands of outstanding designs submitted by companies and designers from 89 countries, all competing for the top prizes in this prestigious global award, which has been leading the way in discovering and celebrating fresh new designers from around the world for over a decade. With so many incredible entries and so much outstanding talent, the task of selecting the final winners was difficult to say the least, but after careful consideration and much anticipation, the jury’s selection for this year’s prestigious “Design of the Year” awards have been announced in both the professional and student divisions. The Jury’s winner selection showcases a diverse range of designers whose truly outstanding work and visionary designs captured the jury’s votes and garnered the year’s top awards. PROFESSIONAL CATEGORY WINNERS: ARCHITECTURE INTERIOR DESIGN OF THE YEAR: DESIGN OF THE YEAR: Challenge Design / Gensler / Yuanlu Community Center In Chongqing Gusto PRODUCT GRAPHIC DESIGN DESIGN OF THE YEAR: DESIGN OF THE YEAR: https://idesignawards.com/winners/zoom.php?eid=9-21881-18&count=1&mode=Valery -
Exploring Biotic Approaches in Performance Based Design Aparna Joijode a Thesis Submitted in Partial Fulfillment of the Requirem
Exploring Biotic Approaches in Performance Based Design Aparna Joijode A thesis submitted in partial fulfillment of the requirements for the degree of: Master of Architecture University of Washington 2019 Committee: Rob Pena, Chair Chris Meek, Co-Chair Program Authorized to Offer Degree: Architecture © Copyright 2019 Aparna Joijode University of Washington Abstract Exploring Biotic Approaches in Performance Based Design Aparna Joijode Chair of the Supervisory Committee: Robert B. Peña, Associate Professor and Undergraduate Program Coordinator Department of Architecture For any building, its façade provides the first layer of interaction with its environment, an optimum design can harness significant synergies while a linear design could considerably increase the energy consumption. As designers, we are required to make informed decisions and educate stakeholders of all potential criteria in selection of the design and engineering approach. ‘My thesis goal is to develop such a framework for adaptive façade design based on biomimetic logic and value engineering and test it with parametric modelling. The design subject is a proposed low-income housing project enhanced with biophilic application to provide comfort at low cost.’ Page left blank intentionally This thesis is best viewed as a two-page spread with this page on left hand side. 3 Table of Contents Abstract………………………………………………………………………………………………………………………1 Table of contents………………………………………………………………………………………………………..4 Acknowledgement………………………………………………………………………………………………………6 Introduction……………………………………………………………………………………………………………….10