Geometric Activities; Orthographic Projection; *Program
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Discover Materials Infographic Challenge
Website: www.discovermaterials.uk Twitter: @DiscovMaterials Instagram: @discovermaterials Email: [email protected] Discover Materials Infographic Challenge The Challenge: We would like you to produce an infographic that highlights and explores a material that has been important to you during the pandemic. We will be awarding prizes for the top two infographics based upon the following criteria: visual appeal content (facts/depth/breadth) range of sources Entries must be submitted to: [email protected] by 9pm (BST) on Sunday 2nd August and submitted as a picture file. Please include your name, as the author of the infographic, within the image. In submitting the infographic to be judged, you are agreeing that the graphic can be shared by Discover Materials more widely. Introduction: An infographic provides us with a short, interesting and timely manner to communicate a complex idea with the wider public. An important aspect of using an infographic is that our target is to make something with high shareability and this can be achieved by telling a good story with a design that conveys data in a manner that is easily interpreted, as highlighted in Figure 1. In this challenge we want you to consider a material that has been important in the pandemic. There are a huge range of materials that have been vitally important to us all during these chaotic and challenging times. We could imagine materials that have been important in personal protection & healthcare, materials that Figure 1: The overlapping aspects of a good infographic enable our new forms of engagement and https://www.flickr.com/photos/dashburst/8448339735 communication in the digital world, or the ‘day- to-day’ materials that we rely upon and without which we would find modern life incredibly difficult. -
A Non-Photorealistic Lighting Model for Automatic Technical Illustration
A Non-Photorealistic Lighting Model For Automatic Technical Illustration Amy Gooch Bruce Gooch Peter Shirley Elaine Cohen Department of Computer Science University of Utah = http:==www.cs.utah.edu Abstract Phong-shaded 3D imagery does not provide geometric information of the same richness as human-drawn technical illustrations. A non-photorealistic lighting model is presented that attempts to nar- row this gap. The model is based on practice in traditional tech- nical illustration, where the lighting model uses both luminance and changes in hue to indicate surface orientation, reserving ex- treme lights and darks for edge lines and highlights. The light- ing model allows shading to occur only in mid-tones so that edge lines and highlights remain visually prominent. In addition, we show how this lighting model is modified when portraying models of metal objects. These illustration methods give a clearer picture of shape, structure, and material composition than traditional com- puter graphics methods. CR Categories: I.3.0 [Computer Graphics]: General; I.3.6 [Com- Figure 1: The non-photorealistic cool (blue) to warm (tan) tran- puter Graphics]: Methodology and Techniques. sition on the skin of the garlic in this non-technical setting is an example of the technique automated in this paper for technical il- Keywords: illustration, non-photorealistic rendering, silhouettes, lustrations. Colored pencil drawing by Susan Ashurst. lighting models, tone, color, shading 1 Introduction dynamic range shading is needed for the interior. As artists have discovered, adding a somewhat artificial hue shift to shading helps The advent of photography and computers has not replaced artists, imply shape without requiring a large dynamic range. -
CT.ENG CAD Drafting/Engineering Graphics
CT.ENG CAD Drafting/Engineering Graphics Essential Discipline Goals -Develop and apply the technical competency and related academic skills that allow for economic independence and career satisfaction. -Acquire the essential learnings and values that foster continued education throughout life. -Demonstrate the ability to communicate, solve problems, work individually and in teams, and apply information effectively. -Develop technological literacy and the ability to adapt to future change. Standards Indicators CT.ENG.05 Communicate graphically through sketches of multi-view and pictorial drawings that meet industry standards. CT.ENG.05.01 Read and apply the rules for sketching in relation to proportion, placement of the views, and drawing medium needed CT.ENG.05.02 Select necessary views for the problem CT.ENG.05.03 Use blocking technique for size, shape, and details CT.ENG.05.04 Apply surface shading techniques where needed CT.ENG.05.05 Identify the uses of sketches in industry CT.ENG.05.06 Identify and describe the terms used in sketching CT.ENG.10 Produce multi-view orthographic projections to industry standards. CT.ENG.10.01 Define and apply the terms related to multi-view drawings CT.ENG.10.02 Apply the rules for orthographic projection CT.ENG.10.03 Review and analyze the working drawing problem and specifications CT.ENG.10.04 Visualize and select the necessary views CT.ENG.10.05 Identify the types of lines, lettering, and drawing medium needed CT.ENG.10.06 Solve fractional, decimal, and metric equations as needed CT.ENG.10.06 Use concepts related to units of measurement CT.ENG.10.07 Analyze and identify the need for sectional and/or auxiliary views CT.ENG.10.08 Define and apply the rules for sections and auxiliary views CT.ENG.10.09 Visualize and draw geometric figures in two dimens CT.ENG.10.10 Describe, compare and classify geometric figures CT.ENG.10.11 Apply properties and relationships of circles to solve circle problems CT.ENG.15 Produce development layouts of various shaped objects to industry standards. -
Visual Literacy of Infographic Review in Dkv Students’ Works in Bina Nusantara University
VISUAL LITERACY OF INFOGRAPHIC REVIEW IN DKV STUDENTS’ WORKS IN BINA NUSANTARA UNIVERSITY Suprayitno School of Design New Media Department, Bina Nusantara University Jl. K. H. Syahdan, No. 9, Palmerah, Jakarta 11480, Indonesia [email protected] ABSTRACT This research aimed to provide theoretical benefits for students, practitioners of infographics as the enrichment, especially for Desain Komunikasi Visual (DKV - Visual Communication Design) courses and solve the occurring visual problems. Theories related to infographic problems were used to analyze the examples of the student's infographic work. Moreover, the qualitative method was used for data collection in the form of literature study, observation, and documentation. The results of this research show that in general the students are less precise in the selection and usage of visual literacy elements, and the hierarchy is not good. Thus, it reduces the clarity and effectiveness of the infographic function. This is the urgency of this study about how to formulate a pattern or formula in making a work that is not only good and beautiful but also is smart, creative, and informative. Keywords: visual literacy, infographic elements, Visual Communication Design, DKV INTRODUCTION Desain Komunikasi Visual (DKV - Visual Communication Design) is a term portrayal of the process of media in communicating an idea or delivery of information that can be read or seen. DKV is related to the use of signs, images, symbols, typography, illustrations, and color. Those are all related to the sense of sight. In here, the process of communication can be through the exploration of ideas with the addition of images in the form of photos, diagrams, illustrations, and colors. -
Pen-And-Ink Illustrations Painterly Rendering Cartoon Shading Technical Illustrations
CSCI 420 Computer Graphics Lecture 24 Non-Photorealistic Rendering Pen-and-ink Illustrations Painterly Rendering Cartoon Shading Technical Illustrations Jernej Barbic University of Southern California 1 Goals of Computer Graphics • Traditional: Photorealism • Sometimes, we want more – Cartoons – Artistic expression in paint, pen-and-ink – Technical illustrations – Scientific visualization [Lecture next week] cartoon shading 2 Non-Photorealistic Rendering “A means of creating imagery that does not aspire to realism” - Stuart Green Cassidy Curtis 1998 David Gainey 3 Non-photorealistic Rendering Also called: • Expressive graphics • Artistic rendering • Non-realistic graphics Source: ATI • Art-based rendering • Psychographics 4 Some NPR Categories • Pen-and-Ink illustration – Techniques: cross-hatching, outlines, line art, etc. • Painterly rendering – Styles: impressionist, expressionist, pointilist, etc. • Cartoons – Effects: cartoon shading, distortion, etc. • Technical illustrations – Characteristics: Matte shading, edge lines, etc. • Scientific visualization – Methods: splatting, hedgehogs, etc. 5 Outline • Pen-and-Ink Illustrations • Painterly Rendering • Cartoon Shading • Technical Illustrations 6 Hue • Perception of “distinct” colors by humans • Red • Green • Blue • Yellow Source: Wikipedia Hue Scale 7 Tone • Perception of “brightness” of a color by humans # •! Also called lightness# darker lighter •! Important in NPR# Source: Wikipedia 8 Pen-and-Ink Illustrations Winkenbach and Salesin 1994 9 Pen-and-Ink Illustrations •! Strokes –! -
Maps and Diagrams. Their Compilation and Construction
~r HJ.Mo Mouse andHR Wilkinson MAPS AND DIAGRAMS 8 his third edition does not form a ramatic departure from the treatment of artographic methods which has made it a standard text for 1 years, but it has developed those aspects of the subject (computer-graphics, quantification gen- erally) which are likely to progress in the uture. While earlier editions were primarily concerned with university cartography ‘ourses and with the production of the- matic maps to illustrate theses, articles and books, this new edition takes into account the increasing number of professional cartographer-geographers employed in Government departments, planning de- partments and in the offices of architects pnd civil engineers. The authors seek to ive students some idea of the novel and xciting developments in tools, materials, echniques and methods. The growth, mounting to an explosion, in data of all inds emphasises the increasing need for discerning use of statistical techniques, nevitably, the dependence on the com- uter for ordering and sifting data must row, as must the degree of sophistication n the techniques employed. New maps nd diagrams have been supplied where ecessary. HIRD EDITION PRICE NET £3-50 :70s IN U K 0 N LY MAPS AND DIAGRAMS THEIR COMPILATION AND CONSTRUCTION MAPS AND DIAGRAMS THEIR COMPILATION AND CONSTRUCTION F. J. MONKHOUSE Formerly Professor of Geography in the University of Southampton and H. R. WILKINSON Professor of Geography in the University of Hull METHUEN & CO LTD II NEW FETTER LANE LONDON EC4 ; © ig6g and igyi F.J. Monkhouse and H. R. Wilkinson First published goth October igj2 Reprinted 4 times Second edition, revised and enlarged, ig6g Reprinted 3 times Third edition, revised and enlarged, igyi SBN 416 07440 5 Second edition first published as a University Paperback, ig6g Reprinted 5 times Third edition, igyi SBN 416 07450 2 Printed in Great Britain by Richard Clay ( The Chaucer Press), Ltd Bungay, Suffolk This title is available in both hard and paperback editions. -
Graph Visualization and Navigation in Information Visualization 1
HERMAN ET AL.: GRAPH VISUALIZATION AND NAVIGATION IN INFORMATION VISUALIZATION 1 Graph Visualization and Navigation in Information Visualization: a Survey Ivan Herman, Member, IEEE CS Society, Guy Melançon, and M. Scott Marshall Abstract—This is a survey on graph visualization and navigation techniques, as used in information visualization. Graphs appear in numerous applications such as web browsing, state–transition diagrams, and data structures. The ability to visualize and to navigate in these potentially large, abstract graphs is often a crucial part of an application. Information visualization has specific requirements, which means that this survey approaches the results of traditional graph drawing from a different perspective. Index Terms—Information visualization, graph visualization, graph drawing, navigation, focus+context, fish–eye, clustering. involved in graph visualization: “Where am I?” “Where is the 1 Introduction file that I'm looking for?” Other familiar types of graphs lthough the visualization of graphs is the subject of this include the hierarchy illustrated in an organisational chart and Asurvey, it is not about graph drawing in general. taxonomies that portray the relations between species. Web Excellent bibliographic surveys[4],[34], books[5], or even site maps are another application of graphs as well as on–line tutorials[26] exist for graph drawing. Instead, the browsing history. In biology and chemistry, graphs are handling of graphs is considered with respect to information applied to evolutionary trees, phylogenetic trees, molecular visualization. maps, genetic maps, biochemical pathways, and protein Information visualization has become a large field and functions. Other areas of application include object–oriented “sub–fields” are beginning to emerge (see for example Card systems (class browsers), data structures (compiler data et al.[16] for a recent collection of papers from the last structures in particular), real–time systems (state–transition decade). -
Toward Unified Models in User-Centered and Object-Oriented
CHAPTER 9 Toward Unified Models in User-Centered and Object-Oriented Design William Hudson Abstract Many members of the HCI community view user-centered design, with its focus on users and their tasks, as essential to the construction of usable user inter- faces. However, UCD and object-oriented design continue to develop along separate paths, with very little common ground and substantially different activ- ities and notations. The Unified Modeling Language (UML) has become the de facto language of object-oriented development, and an informal method has evolved around it. While parts of the UML notation have been embraced in user-centered methods, such as those in this volume, there has been no con- certed effort to adapt user-centered design techniques to UML and vice versa. This chapter explores many of the issues involved in bringing user-centered design and UML closer together. It presents a survey of user-centered tech- niques employed by usability professionals, provides an overview of a number of commercially based user-centered methods, and discusses the application of UML notation to user-centered design. Also, since the informal UML method is use case driven and many user-centered design methods rely on scenarios, a unifying approach to use cases and scenarios is included. 9.1 Introduction 9.1.1 Why Bring User-Centered Design to UML? A recent survey of software methods and techniques [Wieringa 1998] found that at least 19 object-oriented methods had been published in book form since 1988, and many more had been published in conference and journal papers. This situation led to a great 313 314 | CHAPTER 9 Toward Unified Models in User-Centered and Object-Oriented Design deal of division in the object-oriented community and caused numerous problems for anyone considering a move toward object technology. -
Infovis and Statistical Graphics: Different Goals, Different Looks1
Infovis and Statistical Graphics: Different Goals, Different Looks1 Andrew Gelman2 and Antony Unwin3 20 Jan 2012 Abstract. The importance of graphical displays in statistical practice has been recognized sporadically in the statistical literature over the past century, with wider awareness following Tukey’s Exploratory Data Analysis (1977) and Tufte’s books in the succeeding decades. But statistical graphics still occupies an awkward in-between position: Within statistics, exploratory and graphical methods represent a minor subfield and are not well- integrated with larger themes of modeling and inference. Outside of statistics, infographics (also called information visualization or Infovis) is huge, but their purveyors and enthusiasts appear largely to be uninterested in statistical principles. We present here a set of goals for graphical displays discussed primarily from the statistical point of view and discuss some inherent contradictions in these goals that may be impeding communication between the fields of statistics and Infovis. One of our constructive suggestions, to Infovis practitioners and statisticians alike, is to try not to cram into a single graph what can be better displayed in two or more. We recognize that we offer only one perspective and intend this article to be a starting point for a wide-ranging discussion among graphics designers, statisticians, and users of statistical methods. The purpose of this article is not to criticize but to explore the different goals that lead researchers in different fields to value different aspects of data visualization. Recent decades have seen huge progress in statistical modeling and computing, with statisticians in friendly competition with researchers in applied fields such as psychometrics, econometrics, and more recently machine learning and “data science.” But the field of statistical graphics has suffered relative neglect. -
What's Your Theory of Effective Schematic Map Design?
What’s Your Theory of Effective Schematic Map Design? Maxwell. J. Roberts Department of Psychology University of Essex Colchester, UK [email protected] Abstract—Amongst designers, researchers, and the general general public accept or reject radical new creations. public, there exists a diverse array of opinion about good practice Furthermore, the lay-theories held by designers will affect the in schematic map design, and a lack of awareness that such products that they create and the recommendations that they opinions are not necessarily universally held nor supported by make. Similarly, the lay-theories of transport managers will evidence. This paper gives an overview of the range of opinion determine design specifications and the acceptance or rejection that can be encountered, the consequences that this has for of end-products. With so many different theories in circulation, published designs, and a framework for organising the various conflicts will be inevitable, hence the polarised response to the views. controversial Madrid Metro map of 2007, which generated a huge adverse reaction amongst residents: presumably, the Keywords—schematic mapping; lay-theories, expectations and transport authority believed that this was a sound design. prejudices; effective design; cognition; intelligence. Likewise, the adverse public response to the removal of the I. LAY-THEORIES OF DESIGN River Thames from the London Underground map in 2009. The lay-theory held by officials, presumably, was that the river Whenever I create a controversial new schematic map and was irrelevant to usability. The public disagreed, and the river publish it on the internet, the diversity of opinion that it evokes returned a few months later. -
Module 4 Electronic Diagrams and Schematics
ENGINEERING SYMBOLOGY, PRINTS, AND DRAWINGS Module 4 Electronic Diagrams and Schematics Engineering Symbology, Prints, & Drawings Electronic Diagrams & Schematics TABLE OF CONTENTS Table of Co nte nts TABLE OF CONTENTS ................................................................................................... i LIST OF FIGURES ...........................................................................................................ii LIST OF TABLES ............................................................................................................ iii REFERENCES ................................................................................................................iv OBJECTIVES .................................................................................................................. 1 ELECTRONIC DIAGRAMS, PRINTS, AND SCHEMATICS ............................................ 2 Introduction .................................................................................................................. 2 Electronic Schematic Drawing Symbology .................................................................. 3 Examples of Electronic Schematic Diagrams .............................................................. 6 Reading Electronic Prints, Diagrams and Schematics ................................................. 8 Block Drawing Symbology ......................................................................................... 13 Examples of Block Diagrams .................................................................................... -
Architectural and Engineering Design Department (AEDD) South Portland, Maine 04106 Title:Technical Illustration Catalog Number
Architectural and Engineering Design Department (AEDD) South Portland, Maine 04106 Title:Technical Illustration Catalog Number: AEDD-205 Credit Hours: 3 Total Contact Hours: 60 Lecture: 30 Lab: 30 Instructor: Meridith Comeau Phone: 7415779 email :[email protected] Course Syllabus Course Description This comprehensive course covers technical and perspective forms of three-dimensional drawing, one and two point perspective, shade and shadow, color, and rendering. Extensive sketching, a thorough understanding of technical drawing/graphic concepts, and hands-on experience promote the development of artistic talent as it relates to architectural engineering design. Prerequisite(s): AEDD-100 or AEDD-105 Course Objectives 1. Generate accurate axonometric and isometric drawings. 2. Generate exploded views of assemblies from working drawings. 3. Generate one and two point perspective drawings from working drawings. 4. Integrate the effects of light, shade, and shadow. 5. Generate full-color renderings from working drawings and photographs. Topical Outline of Instruction 1. Overview of course, explanation of examples, and the introduction of sketching techniques. 2. Line technique and values, depiction of surface textures. 3. Introduction of drawing mediums. 4. Generation of axonometric drawings. 5. Generation of isometric drawings. 6. Introduction of one point perspective drawing. 7. Introduction of two point perspective drawing. 8. Introduction of light and shadow. 9. Introduction of shading techniques. 10. Introduction of rendering techniques. Course Requirements 1. Active attendance and participation. 2. Generation of all assigned drawings. 3. Development of a portfolio. Student Evaluation and Grading Work will be evaluated on content, quality, and timeliness. Homework/Sketching/In-class = 30% Critique = 20% Portfolio = 40% Attendance = 10% I use the course portal to post and grade all assignments.