Glossaire Infographique

Total Page:16

File Type:pdf, Size:1020Kb

Glossaire Infographique Glossaire Infographique André PASCUAL [email protected] Glossaire Infographique Table des Matières GLOSSAIRE ILLUSTRÉ...............................................................................................................................................................1 des Termes techniques & autres,.....................................................................................................................................1 Prologue.......................................................................................................................................................................................2 Notice Légale...............................................................................................................................................................................3 Définitions des termes & Illustrations.......................................................................................................................................4 −AaA−...........................................................................................................................................................................................5 Aberration chromatique :..................................................................................................................................................5 Accrochage − Snap :........................................................................................................................................................5 Aérosol, Pulvérisateur, Aérographe− Spray :...................................................................................................................5 Affiche − Poster :..............................................................................................................................................................5 Airbrushing − Aérographe (Peinture à l') :........................................................................................................................5 Aléatoire :.........................................................................................................................................................................5 Algorithme :......................................................................................................................................................................5 Algorithmic Art :................................................................................................................................................................6 Aliasing − Crénelage :......................................................................................................................................................6 Alignement (Typo) :..........................................................................................................................................................6 Aligner :............................................................................................................................................................................6 Alpha Blending :...............................................................................................................................................................7 Alpha Channel − Canal alpha :.........................................................................................................................................7 Ambient :..........................................................................................................................................................................7 Anamorphose :.................................................................................................................................................................7 Angle solide :....................................................................................................................................................................7 Anisotropique :..................................................................................................................................................................7 Antialiasing − Anticrénelage :...........................................................................................................................................7 Antique (Typo) −Sans Serif, Gothic, Grotesk :.................................................................................................................8 Aperçu − Preview :...........................................................................................................................................................8 Aplatir image − Combine all with background :................................................................................................................8 Aplats (à−plats) et Dégradés :..........................................................................................................................................8 Arbre de construction − Hierarchy :..................................................................................................................................9 ARCAD :...........................................................................................................................................................................9 ARCIMBOLDO Guiseppe :...............................................................................................................................................9 Arête − Edge :.................................................................................................................................................................10 Array − Copie multiple :..................................................................................................................................................10 Arrière−Plan − Background :..........................................................................................................................................10 Artéfacts :.......................................................................................................................................................................11 Artéfacts (Suppression des) :.........................................................................................................................................11 Art Stroke − Art du trait :.................................................................................................................................................11 ASCII Art :.......................................................................................................................................................................11 ASCII et Binaire (Format) :.............................................................................................................................................12 Assemblage − Assembly :..............................................................................................................................................12 Atténuation de lumière :..................................................................................................................................................12 Azimut :...........................................................................................................................................................................12 −BbB−.........................................................................................................................................................................................13 Balayage− Sweep :.........................................................................................................................................................13 Bande Dessinée (BD) :...................................................................................................................................................13 Banque d'images LAL :...................................................................................................................................................13 BAUHAUS (Le) :.............................................................................................................................................................14 BEARDSLEY Aubrey Vincent :.......................................................................................................................................14 Bézier(Courbes et Surfaces) :........................................................................................................................................14 Biais (Effet de )...............................................................................................................................................................15 Bibliothèques − Library :.................................................................................................................................................15 Billboards − Panneaux d'affichage :..............................................................................................................................15 Binary (Format) − Binaire :.............................................................................................................................................15 Biseau − Bevel (Chanfrein) :...........................................................................................................................................15 Bit − Chiffre binaire :.......................................................................................................................................................15
Recommended publications
  • 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).
    [Show full text]
  • Metadefender Core V4.12.2
    MetaDefender Core v4.12.2 © 2018 OPSWAT, Inc. All rights reserved. OPSWAT®, MetadefenderTM and the OPSWAT logo are trademarks of OPSWAT, Inc. All other trademarks, trade names, service marks, service names, and images mentioned and/or used herein belong to their respective owners. Table of Contents About This Guide 13 Key Features of Metadefender Core 14 1. Quick Start with Metadefender Core 15 1.1. Installation 15 Operating system invariant initial steps 15 Basic setup 16 1.1.1. Configuration wizard 16 1.2. License Activation 21 1.3. Scan Files with Metadefender Core 21 2. Installing or Upgrading Metadefender Core 22 2.1. Recommended System Requirements 22 System Requirements For Server 22 Browser Requirements for the Metadefender Core Management Console 24 2.2. Installing Metadefender 25 Installation 25 Installation notes 25 2.2.1. Installing Metadefender Core using command line 26 2.2.2. Installing Metadefender Core using the Install Wizard 27 2.3. Upgrading MetaDefender Core 27 Upgrading from MetaDefender Core 3.x 27 Upgrading from MetaDefender Core 4.x 28 2.4. Metadefender Core Licensing 28 2.4.1. Activating Metadefender Licenses 28 2.4.2. Checking Your Metadefender Core License 35 2.5. Performance and Load Estimation 36 What to know before reading the results: Some factors that affect performance 36 How test results are calculated 37 Test Reports 37 Performance Report - Multi-Scanning On Linux 37 Performance Report - Multi-Scanning On Windows 41 2.6. Special installation options 46 Use RAMDISK for the tempdirectory 46 3. Configuring Metadefender Core 50 3.1. Management Console 50 3.2.
    [Show full text]
  • Carla Padrós Bosch INS Narcís Monturiol 2N Batxillerat a Núria Vidal Marce 16 De Gener Del 2012
    Carla Padrós Bosch INS Narcís Monturiol 2n Batxillerat A Núria Vidal Marce 16 de Gener del 2012 “Me gustaría fotografiar a cualquier mujer que rompa las convenciones y persiga sus sueños” Mary McCartney. Índex Agraïments 1. Introducció........................................................................................................ 3 2. Fotografia.......................................................................................................... 6 2.1 Què és la fotografia?................................................................................. 6 2.2 Tipus de fotografies.................................................................................. 6 3. Retoc i modificació de fotografies................................................................ 11 3.1 Què es?..................................................................................................... 11 3.2 Quines són les seves característiques?................................................ 11 3.3 Quins problemes pot causar?................................................................ 12 3.4 Utilització.................................................................................................. 12 3.5 Programes que trobem............................................................................ 14 4. Photoshop....................................................................................................... 17 4.1 Què és el photoshop?............................................................................. 17 3.1.2. Evolució del
    [Show full text]
  • Programvadászat
    Vezérfonal Programvadászat KOffice KFormula - képletszerkesztõ Linux alatt már megszokhattuk az al- A KOffice hátrányaként említhetõ az kalmazások bõ választékát, legyen szó import/export szûrõk hiányosságai. bármilyen feladatról. Nem kivétel ez A http://www.koffice.org oldalon sok © Kiskapu Kft. Minden jog fenntartva alól az irodai munka területe sem. kiegészítõ alkalmazást találunk, amelyekkel teljesebbé tudjuk tenni irodai környezetünket. Abiword Ez egy igazán remek szövegszerkesztõ. Kis erõforrásigényének köszönhetõen nagyon hatékonyan használható régeb- bi gépeken, ahol az OpenOffice.org Mindhárom program jelenleg elér- már számításba sem jöhet. A korongra hetõ legfrissebb változata került fel a Fedora Core1, Fedora Core2, RedHat 9 a mellékletre. csomagok kerültek fel, telepítésük az Akitõl megkérdezik, hogy milyen iro- rpm-i csomagnév paranccsal könnyedén Magazin dai programcsomagot használ, az nagy elvégezhetõ. valószínûséggel az OpenOffice.org-ot ALSA fogja említeni. Ez egy igen népszerû, Rendszermag Az ALSA hangrendszer programozása nagytudású program, amivel szinte Természetesen felkerültek koron- cikkhez tartozó példakódok, doku- mindent meg tudunk oldani a szöveg- gunkra a jelenlegi legfrissebb rend- mentáció, és a legfrissebb ALSA prog- szerkesztéstõl, a táblázatkezelésen ke- szermagok is. (2.4.27, és a 2.6.8.1). ramok a Magazin/ALSA könyvtárban resztül a bemutatók készítése. Hátrá- A 2.6-os rendszermagsorozat las- kaptak helyet. nya viszont az igen nagy mérete, ami san elér abba az állapotba amikor a mai gépeken nem jelenthet gondot mindenféle környezetben bátran Fogadó egy régebbi konfigurációnak azonban használhatjuk. Hasonlóan a 2.2-rõl Marcel által írt cikkben szereplõ játé- már meggyûlhet vele a baja. Ugyan- a 2.4-re történõ váltáshoz, sokan kok telepíthetõ formában és forrás- ilyen feladatokra készített csomag most is halogatják ezt a lépést.
    [Show full text]
  • Biological Agency in Art
    1 Vol 16 Issue 2 – 3 Biological Agency in Art Allison N. Kudla Artist, PhD Student Center for Digital Arts and Experimental Media: DXARTS, University of Washington 207 Raitt Hall Seattle, WA 98195 USA allisonx[at]u[dot]washington[dot]edu Keywords Agency, Semiotics, Biology, Technology, Emulation, Behavioral, Emergent, Earth Art, Systems Art, Bio-Tech Art Abstract This paper will discuss how the pictorial dilemma guided traditional art towards formalism and again guides new media art away from the screen and towards the generation of physical, phenomenologically based and often bio-technological artistic systems. This takes art into experiential territories, as it is no longer an illusory representation of an idea but an actual instantiation of its beauty and significance. Thus the process of making art is reinstated as a marker to physically manifest and accentuate an experience that takes the perceivers to their own edges so as to see themselves as open systems within a vast and interweaving non-linear network. Introduction “The artist is a positive force in perceiving how technology can be translated to new environments to serve needs and provide variety and enrichment of life.” Billy Klüver, Pavilion ([13] p x). “Art is not a mirror held up to reality, but a hammer with which to shape it.” Bertolt Brecht [2] When looking at the history of art through the lens of a new media artist engaged in several disciplines that interlace fields as varying as biology, algorithmic programming and signal processing, a fairly recent paradigm for art emerges that takes artistic practice away from depiction and towards a more systems based and biologically driven approach.
    [Show full text]
  • This Is a Free, User-Editable, Open Source Software Manual. Table of Contents About Inkscape
    This is a free, user-editable, open source software manual. Table of Contents About Inkscape....................................................................................................................................................1 About SVG...........................................................................................................................................................2 Objectives of the SVG Format.................................................................................................................2 The Current State of SVG Software........................................................................................................2 Inkscape Interface...............................................................................................................................................3 The Menu.................................................................................................................................................3 The Commands Bar.................................................................................................................................3 The Toolbox and Tool Controls Bar........................................................................................................4 The Canvas...............................................................................................................................................4 Rulers......................................................................................................................................................5
    [Show full text]
  • Product End User License Agreement
    END USER LICENSE AGREEMENT If you have another valid, signed agreement with Licensor or a Licensor authorized reseller which applies to the specific Licensor Software, Software Services, Maintenance or Consulting Services you are downloading, accessing or otherwise receiving, that other agreement shall control; otherwise by using, downloading, installing, copying, or accessing Licensor Software, Software Services, Maintenance or Consulting Services, or by clicking on "I accept" on or adjacent to the screen where these Master Terms may be displayed, you hereby agree to be bound by and accept these Master Terms. These Master Terms shall also apply to any Maintenance or Consulting Services you later acquire from Licensor relating to the Software or Software Services. You may place orders under these Master Terms by submitting separate Order Form(s). Capitalized terms used in these Master Terms and not otherwise defined, are defined at https://terms.tibco.com/posts/845635-definitions. 1. License Models, License Grant, Rights and Restrictions. Licensor provides Software on a Perpetual, or Term basis, embedded and delivered as part of Equipment, as Software Services and on a Subscription basis. The Supplemental Terms, include, but are not limited to, the license grant, rights and restrictions for each of the foregoing (including for evaluation purposes) which are located at https://terms.tibco.com. The availability of Software in one or more of the foregoing license models is at Licensor's sole discretion. Additional license requirements and notices, if any, if not included at https://terms.tibco.com, shall be contained in the Documentation that is delivered with the applicable Software.
    [Show full text]
  • Global Illumination for Fun and Profit
    A New Interface for Cloning Objects in Drawing Systems Loutfouz Zaman, Wolfgang Stuerzlinger York University, Toronto, Canada top to bottom, such clones are then similar to a series of events in ABSTRACT an ordered sequence. The similarity is even more apparent, if the Cloning objects is a common operation in graphical user objects were cloned via copy & paste. Changes to the physical interfaces. One example is calendar systems, where users appearance, such as shape or color, are then similar to changing commonly create and modify recurring events, i.e. repeated clones event attributes, such as time. Editing all following events can be of a single event. Inspired by the calendar paradigm, we introduce thought of as modifying clones created after a given clone. a new cloning technique for 2D drawing programs. This technique allows users to clone objects by first selecting them and then dragging them to create clones along the dragged path. Moreover, it allows editing the generated sequences of clones similar to the editing of calendar events. Novel approaches for the generation of clones of clones are also presented. Figure 1. Editing recurring events in Google Calendar. We compared our new clone creation technique with generic In this paper, we present Skencil-C, a mouse-based system duplication via copy-and-paste, smart duplication, and a dialog which implements a new interface to cloning objects in 2D driven technique on a standard desktop system. The results show graphics environment, based on the paradigm discussed above. that the new cloning method is always faster than dialogs and We evaluated the new techniques against existing techniques in smart duplication for most conditions.
    [Show full text]
  • Main Page 1 Main Page
    Main Page 1 Main Page FLOSSMETRICS/ OpenTTT guides FLOSS (Free/Libre open source software) is one of the most important trends in IT since the advent of the PC and commodity software, but despite the potential impact on European firms, its adoption is still hampered by limited knowledge, especially among SMEs that could potentially benefit the most from it. This guide (developed in the context of the FLOSSMETRICS and OpenTTT projects) present a set of guidelines and suggestions for the adoption of open source software within SMEs, using a ladder model that will guide companies from the initial selection and adoption of FLOSS within the IT infrastructure up to the creation of suitable business models based on open source software. The guide is split into an introduction to FLOSS and a catalog of open source applications, selected to fulfill the requests that were gathered in the interviews and audit in the OpenTTT project. The application areas are infrastructural software (ranging from network and system management to security), ERP and CRM applications, groupware, document management, content management systems (CMS), VoIP, graphics/CAD/GIS systems, desktop applications, engineering and manufacturing, vertical business applications and eLearning. This is the third edition of the guide; the guide is distributed under a CC-attribution-sharealike 3.0 license. The author is Carlo Daffara ([email protected]). The complete guide in PDF format is avalaible here [1] Free/ Libre Open Source Software catalog Software: a guide for SMEs • Software Catalog Introduction • SME Guide Introduction • 1. What's Free/Libre/Open Source Software? • Security • 2. Ten myths about free/libre open source software • Data protection and recovery • 3.
    [Show full text]
  • R-Photo User's Manual
    User's Manual © R-Tools Technology Inc 2020. All rights reserved. www.r-tt.com © R-tools Technology Inc 2020. All rights reserved. No part of this User's Manual may be copied, altered, or transferred to, any other media without written, explicit consent from R-tools Technology Inc.. All brand or product names appearing herein are trademarks or registered trademarks of their respective holders. R-tools Technology Inc. has developed this User's Manual to the best of its knowledge, but does not guarantee that the program will fulfill all the desires of the user. No warranty is made in regard to specifications or features. R-tools Technology Inc. retains the right to make alterations to the content of this Manual without the obligation to inform third parties. Contents I Table of Contents I Start 1 II Quick Start Guide in 3 Steps 1 1 Step 1. Di.s..k.. .S..e..l.e..c..t.i.o..n.. .............................................................................................................. 1 2 Step 2. Fi.l.e..s.. .M..a..r..k.i.n..g.. ................................................................................................................ 4 3 Step 3. Re..c..o..v..e..r.y.. ...................................................................................................................... 6 III Features 9 1 File Sorti.n..g.. .............................................................................................................................. 9 2 File Sea.r.c..h.. ............................................................................................................................
    [Show full text]
  • How to Make a Four Page Leaflet Using Scribus ‒And Learning Some Useful Things About the Technical Aspects of Computer Aided Graphic Design in the Process
    How to make a four page leaflet using Scribus ‒and learning some useful things about the technical aspects of computer aided graphic design in the process by Staffan Melin [email protected] Version: 1.0 (2010-03-07) This work is licensed under the Creative Commons Attribution-Noncommercial-Share Alike 2.5 Sweden License. To view a copy of this license, visit http://creativecommons.org/licenses/by-nc-sa/2.5/se/ or send a letter to Creative Commons, 171 Second Street, Suite 300, San Francisco, California, 94105, USA. Goal By studying this document, you will be able to create a simple leaflet using open source software on the linux platform. Using Scribus and GIMP, we will design a four page leaflet and export it as a printable (as in being able to send it to a real printing press) PDF. In the process we will discuss some useful things related to this process: fonts, image requirements and basic color management. Requirements We assume that you have a computer with the following: ▪ Linux (I'm running Ubuntu 9.1 0 on an ASUS Eee PC 901 ) ▪ Scribus (I'm running 1 .3.5.1 ) ▪ GIMP (I'm running 2.6) ▪ preferably an internet connection (we are going to download some things from the internet) HOW TO MAKE A FOUR PAGE LEAFLET USING SCRIBUS 2 Setting up the document Bleed No printing press (or printer) prints all the way to the edge of the paper. If you want images and color blocks to extend all the way to the edge of the paper, the solution is to use a sheet of paper larger than the final result, print beoynd the margins, and then cut down the paper to the final size.
    [Show full text]
  • Extending Mandelbox Fractals with Shape Inversions
    Extending Mandelbox Fractals with Shape Inversions Gregg Helt Genomancer, Healdsburg, CA, USA; [email protected] Abstract The Mandelbox is a recently discovered class of escape-time fractals which use a conditional combination of reflection, spherical inversion, scaling, and translation to transform points under iteration. In this paper we introduce a new extension to Mandelbox fractals which replaces spherical inversion with a more generalized shape inversion. We then explore how this technique can be used to generate new fractals in 2D, 3D, and 4D. Mandelbox Fractals The Mandelbox is a class of escape-time fractals that was first discovered by Tom Lowe in 2010 [5]. It was named the Mandelbox both as an homage to the classic Mandelbrot set fractal and due to its overall boxlike shape when visualized, as shown in Figure 1a. The interior can be rich in self-similar fractal detail as well, as shown in Figure 1b. Many modifications to the original algorithm have been developed, almost exclusively by contributors to the FractalForums online community. Although most explorations of Mandelboxes have focused on 3D versions, the algorithm can be applied to any number of dimensions. (a) (b) (c) Figure 1: Mandelbox 3D fractal examples: (a) Mandelbox exterior , (b) same Mandelbox, but zoomed in view of small section of interior , (c) Juliabox indexed by same Mandelbox. Like the Mandelbrot set and other escape-time fractals, a Mandelbox set contains all the points whose orbits under iterative transformation by a function do not escape. For a basic Mandelbox the function to apply iteratively to each point �" is defined as a composition of transformations: �#$% = ��ℎ�������1,3 �������6 �# ∗ � + �" Boxfold and Spherefold are modified reflection and spherical inversion transforms, respectively, with parameters F, H, and L which are described below.
    [Show full text]